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This Journal, notebook, diary, feature 120 pages of lined paper with a matte finish cover. Perfect for note taking, diary entry, journal writing, to do list or daily schedules.
In this fictional diary, the eponymous Mary Hervey Russell recounts her life and experiences in early 20th century England. Through her eyes, readers gain insight into the social and cultural norms of the time, as well as the personal struggles and triumphs of a young woman trying to navigate a rapidly changing world. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Fredric Jameson takes on the allegorical form Works do not have meanings, they soak up meanings: a work is a machine for libidinal investments (including the political kind). It is a process that sorts incommensurabilities and registers contradictions (which is not the same as solving them!) The inevitable and welcome conflict of interpretations - a discursive, ideological struggle - therefore needs to be supplemented by an account of this simultaneous processing of multiple meanings, rather than an abandonment to liberal pluralisms and tolerant (or intolerant) relativisms. This is not a book about "method", but it does propose a dialectic capable of holding together in one breath the heterogeneities that reflect our biological individualities, our submersion in collective history and class struggle, and our alienation to a disembodied new world of information and abstraction. Eschewing the arid secularities of philosophy, Walter Benjamin once recommended the alternative of the rich figurality of an older theology; in that spirit we here return to the antiquated Ptolemaic systems of ancient allegory and its multiple levels (a proposal first sketched out in The Political Unconscious); it is tested against the epic complexities of the overtly allegorical works of Dante, Spenser and the Goethe of Faust II, as well as symphonic form in music, and the structure of the novel, postmodern as well as Third-World: about which a notorious essay on National Allegory is here reprinted with a theoretical commentary; and an allegorical history of emotion is meanwhile rehearsed from its contemporary, geopolitical context.
This propulsive post-apocalyptic thriller “in which Agatha Christie’s And Then There Were None collides with Stephen King’s The Shining” (NPR) follows a group of survivors stranded at a hotel as the world descends into nuclear war and the body of a young girl is discovered in one of the hotel’s water tanks. Jon thought he had all the time in the world to respond to his wife’s text message: I miss you so much. I feel bad about how we left it. Love you. But as he’s waiting in the lobby of the L’Hotel Sixieme in Switzerland after an academic conference, still mulling over how to respond to his wife, he receives a string of horrifying push notifications. Washington, DC, has been hit with a nuclear bomb, then New York, then London, and finally Berlin. That’s all he knows before news outlets and social media goes black—and before the clouds on the horizon turn orange. Two months later, there are twenty survivors holed up at the hotel, a place already tainted by its strange history of suicides and murders. Jon and the rest try to maintain some semblance of civilization. But when he goes up to the roof to investigate the hotel’s worsening water quality, he is shocked to discover the body of a young girl floating in one of the tanks, and is faced with the terrifying possibility that there might be a killer among the group. As supplies dwindle and tensions rise, Jon becomes obsessed with discovering the truth behind the girl’s death. In this “brilliantly executed...chilling and extraordinary” post-apocalyptic mystery, “the questions Jameson poses—who will be with you at the end of the world, and what kind of person will you be?—are as haunting as the plot itself.” (Emily St. John Mandel, nationally bestselling author of Station Eleven).
From the Booker Prize–winning author of Oryx and Crake, the first book in the MaddAddam Trilogy, and The Handmaid’s Tale. Internationally acclaimed as ONE OF THE BEST BOOKS OF THE YEAR by, amongst others, the Globe and Mail, the New York Times, the New Yorker, and the Village Voice In a world driven by shadowy, corrupt corporations and the uncontrolled development of new, gene-spliced life forms, a man-made pandemic occurs, obliterating human life. Two people find they have unexpectedly survived: Ren, a young dancer locked inside the high-end sex club Scales and Tails (the cleanest dirty girls in town), and Toby, solitary and determined, who has barricaded herself inside a luxurious spa, watching and waiting. The women have to decide on their next move—they can’t stay hidden forever. But is anyone else out there?
This is a first-hand account of the expedition led by H. M. Stanley in 1887-89 to the relief of Emin Pasha, Governor of Equatoria. A. J. Mounteney Jephson, a typical late Victorian traveller, took part in Stanley’s last expedition in Africa. His recently-discovered diary describes the voyage out of the mouth of the Congo; the journey up the Congo and across the Ituri forests to Lake Albert; the meeting with Emin Pasha; the mutiny of Emin’s troops and their imprisonment of Emin and Jephson; and the journey back to the East coast. Though it fell short of its political and commercial aims, the expedition was important geographically as it solved the last mystery of African topography - the position and nature of the sources of the Nile.