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The definitive story of the British adventurers who survived the trenches of World War I and went on to risk their lives climbing Mount Everest. On June 6, 1924, two men set out from a camp perched at 23,000 feet on an ice ledge just below the lip of Everest’s North Col. George Mallory, thirty-seven, was Britain’s finest climber. Sandy Irvine was a twenty-two-year-old Oxford scholar with little previous mountaineering experience. Neither of them returned. Drawing on more than a decade of prodigious research, bestselling author and explorer Wade Davis vividly re-creates the heroic efforts of Mallory and his fellow climbers, setting their significant achievements in sweeping historical context: from Britain’s nineteen-century imperial ambitions to the war that shaped Mallory’s generation. Theirs was a country broken, and the Everest expeditions emerged as a powerful symbol of national redemption and hope. In Davis’s rich exploration, he creates a timeless portrait of these remarkable men and their extraordinary times.
In this pathbreaking book, King-Kok Cheung sheds new light on the thematic and rhetoncal uses of silence in fiction by three Asian American women: Hisaye Yamamoto, Maxine Hong Kingston, and JoyKogawa. Boldly articulating the unspeakable, these writers break the silence imposed by families or ethnic communities and defy the dominant culture that suppresses the voicing of minority experiences. Yet at the same time, they demonstrate how silences—voiceless gestures, textual ellipses, authorial hesitations—can themselves be articulate. Drawing on theoretical works on women's writing, on ethnicity and race, and on postmodernism and history, Cheung takes issue with Anglo-American feminists who valorize speech unequivocally and with revisionist Asian American male critics who attempt to refute Orientalist stereotypes by renouncing silence. She challenges Eurocentric views of speech and silence as polarized, hierarchical, and gendered, and proposes an approach to Asian American literature which overturns the "East-West" or "dual personality" model. Yamamoto, Kingston, and Kogawa interweave speech and silence, narration and ellipses, autobiography and fiction as they adapt and recast Asian and Euro-American precursors. Drawing freely from both traditions, they reinvent the past by decentering, disseminating, and interrogating authority-but not by reappropriating it. A fresh and subtle response to issues relating to cultural diversity, Articulate Silences will be important reading for scholars and students in the fie,4s of literary theory and criticism, women's studies, Asian American studies, and ethnic studies.
Is the Miranda warning, which lets an accused know of the right to remain silent, more about procedural fairness or about the conventions of speech acts and silences? Do U.S. laws about Native Americans violate the preferred or traditional "silence" of the peoples whose religions and languages they aim to "protect" and "preserve"? In Just Silences, Marianne Constable draws on such examples to explore what is at stake in modern law: a potentially new silence as to justice. Grounding her claims about modern law in rhetorical analyses of U.S. law and legal texts and locating those claims within the tradition of Nietzsche, Heidegger, and Foucault, Constable asks what we are to make of silences in modern law and justice. She shows how what she calls "sociolegal positivism" is more important than the natural law/positive law distinction for understanding modern law. Modern law is a social and sociological phenomenon, whose instrumental, power-oriented, sometimes violent nature raises serious doubts about the continued possibility of justice. She shows how particular views of language and speech are implicated in such law. But law--like language--has not always been positivist, empirical, or sociological, nor need it be. Constable examines possibilities of silence and proposes an alternative understanding of law--one that emerges in the calling, however silently, of words to justice. Profoundly insightful and fluently written, Just Silences suggests that justice today lies precariously in the silences of modern positive law.
Demonstrates that women are taking on increasingly less traditional roles during war, and that these roles are multifaceted, complicated and sometimes contradictory. Reveals that women's requirements during times of war will continue to be inadequate so long as we continue silencing the differing perspectives. Australian editors.
A black family and a white family in 1960s Texas find common ground during the Civil Rights Movement.
Foreword by Anne J Gilliland, University of California Evaluating archives in a post-truth society. In recent years big data initiatives, not to mention Hollywood, the video game industry and countless other popular media, have reinforced and even glamorized the public image of the archive as the ultimate repository of facts and the hope of future generations for uncovering ‘what actually happened’. The reality is, however, that for all sorts of reasons the record may not have been preserved or survived in the archive. In fact, the record may never have even existed – its creation being as imagined as is its contents. And even if it does exist, it may be silent on the salient facts, or it may obfuscate, mislead or flat out lie. The Silence of the Archive is written by three expert and knowledgeable archivists and draws attention to the many limitations of archives and the inevitability of their having parameters. Silences or gaps in archives range from details of individuals’ lives to records of state oppression or of intelligence operations. The book brings together ideas from a wide range of fields, including contemporary history, family history research and Shakespearian studies. It describes why these silences exist, what the impact of them is, how researchers have responded to them, and what the silence of the archive means for researchers in the digital age. It will help provide a framework and context to their activities and enable them to better evaluate archives in a post-truth society. This book includes discussion of: enforced silencesexpectations and when silence means silencedigital preservation, authenticity and the futuredealing with the silencepossible solutions; challenging silence and acceptancethe meaning of the silences: are things getting better or worse?user satisfaction and audience development. This book will make compelling reading for professional archivists, records managers and records creators, postgraduate and undergraduate students of history, archives, librarianship and information studies, as well as academics and other users of archives.
John Cage is the outstanding composer of avant-garde music today. The Saturday Review said of him: "Cage possesses one of the rarest qualities of the true creator- that of an original mind- and whether that originality pleases, irritates, amuses or outrages is irrelevant." "He refuses to sermonize or pontificate. What John Cage offers is more refreshing, more spirited, much more fun-a kind of carefree skinny-dipping in the infinite. It's what's happening now." –The American Record Guide "There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot. Sounds occur whether intended or not; the psychological turning in direction of those not intended seems at first to be a giving up of everything that belongs to humanity. But one must see that humanity and nature, not separate, are in this world together, that nothing was lost when everything was given away."
A personal and cultural exploration of silence and its value in our lives—“[an] artful book, mixing autobiography, travel writing, meditation, and essay” (Independent, UK). In her late forties, after a noisy upbringing as one of six children and adulthood as a vocal feminist and mother, Sara Maitland found herself living alone in the country and, to her surprise, falling in love with silence. In this fascinating, intelligent, and beautifully written book, Maitland describes how she began to explore this new love, spending periods of silence in the Sinai desert, the Scottish hills, and a remote cottage on the Isle of Skye. Maitland also delves deep into the rich cultural history of silence, exploring its significance in fairy tale and myth, its importance to the Western and Eastern religious traditions, and its use in psychoanalysis and artistic expression. Her story culminates in her building a hermitage on an isolated moor in Galloway. “Her book is probably unique in its subject, and timely, because good, healing silence is becoming hard to find, and we may not know we need it” (Guardian, UK).
#1 New York Times bestselling author Nora Roberts presents the electrifying conclusion to her powerful Circle Trilogy. Worlds have collided and centuries have elapsed as six people have brought their unique powers, their courage, and their hearts to a battle that could drown humanity in darkness… Her face, so pale when she’d removed her cloak, had bloomed when her hand had taken the sword. Her eyes, so heavy, so somber, had gone as brilliant as the blade. And had simply sliced through him, keen as a sword, when they’d met his… In the kingdom of Geall, the scholarly Moira has taken up the sword of her people. Now, as queen, she must prepare her subjects for the greatest battle they will ever fight—against an enemy more vicious than any they have seen. For Lilith, the most powerful vampire in the world, has followed the circle of six through time to Geall. Moira also has a personal score to settle. Vampires killed her mother—and now, she is ready to exact her revenge. But there is one vampire to whom she would trust her soul… Cian was changed by Lilith centuries ago. But now, he stands with the circle. Without hesitation, he will kill others of his kind—and has earned the respect of sorcerer, witch, warrior, and shape-shifter. But he wants more than respect from Moira—even though his desire for her makes him vulnerable. For how can a man with an eternity to live love a woman whose life is sure to end—if not by Lilith’s hand, then by the curse of time? “[Roberts] is one of the best writers in the romance world.”—The Best Reviews
Washington Post columnist Alexandra Petri turns her satirical eye on her own life in this hilarious new memoir... Most twentysomethings spend a lot of time avoiding awkwardness. Not Alexandra Petri. Afraid of rejection? Alexandra Petri has auditioned for America’s Next Top Model. Afraid of looking like an idiot? Alexandra Petri lost Jeopardy! by answering “Who is that dude?” on national TV. Afraid of bad jokes? Alexandra Petri won an international pun championship. Petri has been a debutante, reenacted the Civil War, and fended off suitors at a Star Wars convention while wearing a Jabba the Hutt suit. One time, she let some cult members she met on the street baptize her, just to be polite. She’s a connoisseur of the kind of awkwardness that most people spend whole lifetimes trying to avoid. If John Hodgman and Amy Sedaris had a baby…they would never let Petri babysit it. But Petri is here to tell you: Everything you fear is not so bad. Trust her. She’s tried it. And in the course of her misadventures, she’s learned that there are worse things out there than awkwardness—and that interesting things start to happen when you stop caring what people think.