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science fiction based on genetic experiment which is been curse for one scientist.
The only English translation of John Blofeld’s memoirs as a Westerner living in China prior to the Communist Revolution • Paints an intimate portrait of the grace and refinement of ancient Chinese civilization • Originally written in Chinese for Chinese readers, revealing a rare glimpse of Blofeld’s private Chinese side and uncensored views • The last book by the great English sinologist, translator of the I Ching and author of Taoist Mystery and Magic The reveries and remembrances contained in the travel diaries of John Blofeld cover every aspect of his life in China--from visits to opium dens and sing-song houses to sojourns in the Buddhist monasteries and Taoist hermitages of China’s sacred mountains. Here is a vivid glimpse of “old” China as it existed in elegance and grace for three thousand years before China’s Communist Revolution. Originally written in Chinese for a Chinese audience, Blofeld’s travel diary reveals a rare, uncensored view of pre-communist China to which few westerners have been exposed.
"I would like to write a beautiful prayer," writes the young Flannery O'Connor in this deeply spiritual journal, recently discovered among her papers in Georgia. "There is a whole sensible world around me that I should be able to turn to Your praise." Written between 1946 and 1947 while O'Connor was a student far from home at the University of Iowa, A Prayer Journal is a rare portal into the interior life of the great writer. Not only does it map O'Connor's singular relationship with the divine, but it shows how entwined her literary desire was with her yearning for God. "I must write down that I am to be an artist. Not in the sense of aesthetic frippery but in the sense of aesthetic craftsmanship; otherwise I will feel my loneliness continually . . . I do not want to be lonely all my life but people only make us lonelier by reminding us of God. Dear God please help me to be an artist, please let it lead to You." O'Connor could not be more plain about her literary ambition: "Please help me dear God to be a good writer and to get something else accepted," she writes. Yet she struggles with any trace of self-regard: "Don't let me ever think, dear God, that I was anything but the instrument for Your story." As W. A. Sessions, who knew O'Connor, writes in his introduction, it was no coincidence that she began writing the stories that would become her first novel, Wise Blood, during the years when she wrote these singularly imaginative Christian meditations. Including a facsimile of the entire journal in O'Connor's own hand, A Prayer Journal is the record of a brilliant young woman's coming-of-age, a cry from the heart for love, grace, and art.
“Reality TV has never been more entertaining than here as the wickedly funny MacAlister has her heroine record her hilarious experiences with a quirky cast of characters and her passionate encounters with Max in a laughter-laced diary that is a saucy, sexy delight.”—Booklist No woman in her right mind would consent to wearing a corset for a month. Especially a “skinny-challenged” woman like Tessa. But dreams of being debt-free dance in her head when she gets an offer to appear in a reality TV show. A Month in the Life of a Victorian Duke is about real people pretending to live on an English estate, circa 1879. And Tessa's leading man—a real-life Duke—is so handsome she can barely breathe, with or without the corset...
During the phony war that preceded the invasion of France, between late 1939 and the summer of 1940, the young Jean-Paul Sartre was stationed in his native Alsace as part of a meteorological unit. He used his considerable periods of spare time, between mundane duties like watching weather balloons, to make a series of notes on philosophy, literature, politics, history and autobiography that anticipate the themes of his later masterpieces, and often surpass them in literary verve and directness. These War Diaries form a portrait of Sartre in his most intense and brilliant phase. With them the twentieth century's most remarkable and public philosopher has provided us with a fitting posthumous monument to his honest and creativity.
Nicholas Hagger's 55 books include innovatory works on literature, history, philosophy and international politics. In his first published literary work he revived the Preface, which had fallen into disuse after Wordsworth and Shelley. He went on to write Prefaces (sometimes called ‘Prologues’, ‘Introductions’ or ‘Introductory Notes’) for all his subsequent books. Collected Prefaces, a collection of 55 Prefaces (excluding the Preface to this book), sets out his thinking and the reader can follow the development of his philosophy of Universalism (of which he is the main exponent), his literary approach (particularly his combination of Romanticism and Classicism which he calls "neo-Baroque") and his metaphysical thinking. His Prefaces can be read as essays, and as in T.S. Eliot’s Selected Essays there is an interaction between adjacent Prefaces that brings an entirely new perspective to Hagger's works. These Prefaces cover an enormous range. Nicholas Hagger is a Renaissance man at home in many disciplines. His Universalism focuses on humankind’s relationship to the whole universe as reflected in seven key disciplines seen as wholes: the whole of literature, history, philosophy and the sciences, mysticism, religion, international politics and statecraft and world culture. Behind all the Prefaces is Hagger’s fundamental perception of the unity of the universe as the One and of humankind’s position in it. These Prefaces complement his Selected Letters, a companion volume also published by O-Books, and contain startling insights that illumine and send readers to the works the Prefaces introduce.
Carolina Maria de Jesus' book, Quarto de Despejo (The Trash Room), depicted the harsh life of the slums, but it also spoke of the author's pride in her blackness, her high moral standards, and her patriotism. More than a million copies of her diary are believed to have been sold worldwide. Yet many Brazilians refused to believe that someone like de Jesus could have written such a diary, with its complicated words (some of them misused) and often lyrical phrasing as she discussed world events. Doubters prefer to believe the book was either written by Audáulio Dantas, the enterprising newspaper reporter who discovered her, or that Dantas rewrote it so substantially that her book is a fraud. With the cooperation of de Jesus' daughter, recent research shows that although Dantas deleted considerable portions of the diary (as well as a second one), every word was de Jesus'. But Dantas did "create" a different Carolina from the woman who coped with her harsh life by putting things down on paper. This book sets the record straight by providing detailed translations of de Jesus' unedited diaries and explains why Brazilian elites were motivated to obscure her true personality and present her as something she was not. It is not only about the writer but about Brazil as recorded by her sarcastic pen. The diary entries in this book span from 1958 to 1966, five years beyond text previously known to exist. They show de Jesus as she was, preserving her Joycean stream-of-consciousness language and her pithy characterizations.
Dreiser's careful preservation of his papers bears new fruit with the publication of his personal diaries for the years 1902-26. This volume presents all seven of Dreiser's hitherto unpublished American diaries, the intermittent journals he kept during the most productive years of his literary career. Together they constitute a revealing self-portrait as well as a valuable commentary on the American scene during the first quarter of the twentieth century. They offer reflections on turn-of-the-century Philadelphia, the American South and Mid-West, Greenwich Village of the nineteen-teens, and Hollywood of the twenties. The diaries begin in 1902, when Dreiser was at a low point after the "suppression" of Sister Carrie, and continue until 1926, when he was enjoying the greatest success of his career with An American Tragedy. This publication constitutes in its entirety a new source for biographical and critical study. This is particularly true of the diaries covering Dreiser's experience in Philadelphia, Greenwich Village, and with Helen Richardson—all of which were not available to previous biographers. The present Introduction by Professor Riggio is the first biographical narrative to make use of these materials. Future biographers will now be able to speak with more assurance of Dreiser's whereabouts, the people he knew, what he was reading, which writings were in progress, and of his fascinating private affairs in general. In addition, these diaries will be of interest to students of Dreiser's literary art, as they reveal subtle aspects of how Dreiser viewed the external world and transmuted it in his daily creative efforts.