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An engaging and hilarious collection that encourages readers to tackle those strange, awkward, worrying, yet endlessly compelling passages of the Bible. The Bible is full of not-so-precious moments, from murder and mayhem, to sex and slavery. Now, an incredible cast of contributors tackles the parts of the Bible that most excite, frustrate, or comfort, like: What the heck is the book of Revelation really about? (The answer will surprise you.) How do we come to grips with the Bible's troubling (or seemingly troubling) passages about the role of women? Why did the artist of the oldest known picture of Jesus intentionally paint him with a wonky eye -- and what does it tell us about beauty? Disquiet Time was written by and for Bible-loving Christians, agnostics, skeptics, none-of-the-aboves, and people who aren't afraid to dig deep spiritually, ask hard questions, and have some fun along the way.
For the first time—and in the best translation ever—the complete Book of Disquiet, a masterpiece beyond comparison The Book of Disquiet is the Portuguese modernist master Fernando Pessoa’s greatest literary achievement. An “autobiography” or “diary” containing exquisite melancholy observations, aphorisms, and ruminations, this classic work grapples with all the eternal questions. Now, for the first time the texts are presented chronologically, in a complete English edition by master translator Margaret Jull Costa. Most of the texts in The Book of Disquiet are written under the semi-heteronym Bernardo Soares, an assistant bookkeeper. This existential masterpiece was first published in Portuguese in 1982, forty-seven years after Pessoa’s death. A monumental literary event, this exciting, new, complete edition spans Fernando Pessoa’s entire writing life.
World Literature Today: Notable Translation of the Year PopMatters: Best Book of the Year From the internationally bestselling author of Serenade for Nadia, a powerful story of love and faith amidst the atrocities committed by ISIS against the Yazidi people. Disquiet transports the reader to the contemporary Middle East through the stories of Meleknaz, a Yazidi Syrian refugee, and Hussein, a young man from the Turkish city of Mardin near the Syrian border. Passionate about helping others, Hussein begins visiting a refugee camp to tend to the thousands of poor and sick streaming into Turkey, fleeing ISIS. There, he falls in love with Meleknaz—whom his disapproving family will call “the devil” who seduced him—and their relationship sets further tragedy in motion. A nuanced meditation on the nature of being human and an empathetic, probing look at the past and present of these Mesopotamian lands, Disquiet gives voice to the peoples, faiths, histories, and stories that have swept through this region over centuries.
When Olivia returns to the grand chateau in France she once called home, with her two children in tow, their arrival is unexpected. They have journeyed from Australia, escaping unspoken horrors, but home is not what it was . . . ' A powerful and disquieting novella, a work of fiction so infused with the practices of film that, while each scene is fully and even vividly realised in words, it also translates quite naturally into film, into a visually rich action taking place before the inner eye.' J. M. Coetzee, Nobel Prize-winning author of Disgrace 'Disquiet is the work of an artist who looks for truth in fear and trembling . . . It testifies to the power and seriousness of one of the most talented Australian writers to appear in ages.' Peter Craven, The Australian '[Leigh] creates images which are new and memorable. She has a wonderful eye for details . . . Julia Leigh has written an extraordinary book.' Miranda France, Literary Review 'Hypnotic . . . It's difficult to imagine a reader who will not be electrified by this haunting, masterfully told story. Indeed, it's difficult to imagine a reader who will not be changed by it.' Kirkus Reviews (starred review)
Acclaimed historian Harry Harootunian calls attention to the boundaries, real and theoretical, that compartmentalize the world around us. In one of the first works to explore on equal footing European and Japanese conceptions of modernity—as imagined in the writings of Georg Simmel and Walter Benjamin, as well as ethnologist Yanagita Kunio and Marxist philosopher Tosaka Jun—Harootunian seeks to expose the problematic nature of scholarly categories. In doing so, History's Disquiet presents intellectual genealogies of such orthodox notions as "field" and "modernity" and other concepts intellectuals in the East and West have used to understand the changing world around them. Contrasting reflections on everyday life in Japan and Europe, Harootunian shows how responses to capitalist society were expressed in similar ways: social critics in both regions alleged a broad sense of alienation, particularly among the middle class. However, he also points out that Japanese critics viewed modernity as a condition in which Japan—without the lengthy period of capitalist modernization that characterized Europe and America—was either "catching up" with those regions or "copying" them. As elegantly written as it is controversial, this book is both an invitation for rethinking intellectual boundaries and an invigorating affirmation that such boundaries can indeed be broken down.
"After looking for him in the poems, we search for him in the prose. The pursuit of the Other in Pessoa's work is never-ending," writes Edwin Honig. Essential to understanding the great Portuguese poet are the essays written about (and by) his heteronyms-Alberto Caeiro, Ricardo Reis, and Alvaro de Campos-the several pseudonyms under which he wrote an extraordinary body of poetry. In Always Astonished, Pessoa and his several selves debate and discuss one another's work, revealing how Portuguese modernism was shaped. Fernando Pessoa is one of the great voices of twentieth-century literature, and these manifestos, letters, journal notes, and critical essays range through aesthetics, lyric poetry, dramatic and visual arts, and the psychology of the artist. He gives us, too, a singularly heterodox political position in his strange work of fiction, The Anarchist Banker.
Attempting to steer moral philosophy away from abstract theorizing, this title argues that moral philosophy should be a practical, rational, and argumentative engagement with reality, and that moral reflection should have direct effects on our lives and the world in which we live.
Thomas Bernhard was one of the most original writers of the twentieth century. His formal innovation ranks with Beckett and Kafka, his outrageously cantankerous voice recalls Dostoevsky, but his gift for lacerating, lyrical, provocative prose is incomparably his own.One of Bernhard's most acclaimed novels, The Loser centers on a fictional relationship between piano virtuoso Glenn Gould and two of his fellow students who feel compelled to renounce their musical ambitions in the face of Gould's incomparable genius. One commits suicide, while the other-- the obsessive, witty, and self-mocking narrator-- has retreated into obscurity. Written as a monologue in one remarkable unbroken paragraph, The Loser is a brilliant meditation on success, failure, genius, and fame.
The New Yorker is, of course, a bastion of superb essays, influential investigative journalism, and insightful arts criticism. But for eighty years it’s also been a hoot. Now an uproarious sampling of its funny writings can be found in this collection, by turns satirical and witty, misanthropic and menacing. From the 1920s onward—but with a special focus on the latest generation—here are the humorists who have set the pace and stirred the pot, pulled the leg and pinched the behind of America. The comic lineup includes Christopher Buckley, Ian Frazier, Veronica Geng, Garrison Keillor, Steve Martin, Susan Orlean, Simon Rich, David Sedaris, Calvin Trillin, and many others. If laughter is the best medicine, Disquiet, Please! is truly a wonder drug.