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A justified complaint of noise leads Leela Monroe on a wild sexual adventure in which she discovers just how easy it could be to &‘love thy neighbor'. Leela Monroe has had just about enough of the loud music and desperate cries of passion keeping her up all night thanks to her new neighbor next door. Fed up, Leela knocks on her neighbor's door to complain but she becomes distracted when Sam answers the door. Charmed by his sexy smile and warm personality. Leela soon finds herself in a state of unyielding longing where Sam is concerned and she is delighted to discover the feeling is mutual. She gives into the hot chemistry between them, enjoying sex for the first time in her life, but can a relationship based on pleasure truly amount to anything more?
The contemporary novel does more than revise our conception of love—it explodes it, queers it, and makes it unrecognizable. Rather than providing union, connection, and completion, love in contemporary fiction destroys the possibility of unity, harbors negativity, and foregrounds difference. Comparing contemporary and modernist depictions of love to delineate critical continuities and innovations, Unmaking Love locates queerness in the novelistic strategies of Ian McEwan, Zadie Smith, Hanif Kureshi, Alan Hollinghurst, and Hari Kunzru. In their work, "queer love" becomes more than shorthand for sexual identity. It comes to embody thwarted expectations, disarticulated organization, and unnerving multiplicity. In queer love, social forms are deformed, affective bonds do not bind, and social structures threaten to come undone. Unmaking Love draws on psychoanalysis and gender and sexuality studies to read love's role in contemporary literature and its relation to queer negativity.
She was gentle in her ways yet firm in her resolve. She was at her most resourceful when she had the least. She was of quick mind, and she rose above obstacles and challenges. She was always beautifully dressed in exquisite, self-embroidered sarees. She wore flowers in her hair. She was a Burmese gem, fearless and ever ready to conquer rough soils. Leelavathy Singh (Leela Dutt) was a woman ahead of her time, and this is her story.
In this heartbreakingly beautiful book of disillusioned intimacy and persistent yearning, beloved and celebrated author Andre Dubus III explores the bottomless needs and stubborn weaknesses of people seeking gratification in food and sex, work and love. In these linked novellas in which characters walk out the back door of one story and into the next, love is "dirty"—tangled up with need, power, boredom, ego, fear, and fantasy. On the Massachusetts coast north of Boston, a controlling manager, Mark, discovers his wife's infidelity after twenty-five years of marriage. An overweight young woman, Marla, gains a romantic partner but loses her innocence. A philandering bartender/aspiring poet, Robert, betrays his pregnant wife. And in the stunning title novella, a teenage girl named Devon, fleeing a dirty image of her posted online, seeks respect in the eyes of her widowed great-uncle Francis and of an Iraq vet she’s met surfing the Web. Slivered by happiness and discontent, aging and death, but also persistent hope and forgiveness, these beautifully wrought narratives express extraordinary tenderness toward human beings, our vulnerable hearts and bodies, our fulfilling and unfulfilling lives alone and with others.
Leela Drake, a 16 years old schoolgirl , begins a friendship and some years later a love affair with an 18 years old A-level student, Edmund Rice. He is already in a relationship with a woman, Dorothy, somewhat older and more mature than he, but for a short while he retains his attachment to both of them. He is restrained in his sexual desire for the young girl as he feels she needs to mature more before she makes the "ultimate" commitment of physical love. It also becomes clear that while the backgrounds of Edmund and Leela are middle-class in terms of income, their parents have very different styles of life, and different perceptions of their relationship. They are parted when Edmund is called up to do his two-years National Service, which takes place in Austria, and so he sees little of Leela while he is away. He has a comparatively interesting time in the Army, and in some ways reluctantly decides to return to civilian life. For her, the waiting is romantic and magnifies her desire and love for him. He too finds his feelings for her have not diminished. Soon after his return they make love for the first time. It soon becomes clear that Leela and Edmund also have views of their affair which are widely apart. Edmund, who likes to picture himself as an idealist, believes in the seriousness and permanency of anything of worth. Leela feels that the moment is just that - and cannot be captured again, however deeply she or Edmund felt at that moment. She is fiercely passionate and sensual, and lives her love through her sexual love as much as in any other way. Edmund is just as physically involved with her, but wants more than merely the experience they have at the moments of intercourse. This incompatibility is heightened when Leela discovers she is pregnant, and eventually the couple decide to end their intimacy. Their baby, a boy, is born and Edmund takes much interest in him and spends time looking after him. He is fascinated by having his own child, although he still hankers after some greater, wider experience and plans to go abroad again. Their families are affected by their affair, but in a great variety of ways, reflecting their differing outlook on life and morality. This Book1 ends with the marriage of Leela’s brother, John.
Two former college sweethearts get a second chance at love when they discover that together they can overcome the mistakes of the past to have a future together. Original.
An accomplished debut, The Flower Boy is the tragically romantic story of people from two cultures, one ruling the other, and the human passions that defy and nearly overcome social taboos. In the colonial society of 1930s Ceylon, the separation between servant and master is clearly drawn. Young Chandi, however, knows that the baby born to his mother’s mistress will be his friend. And, indeed, their friendship blossoms in the lush gardens of the tea plantation on which they live. Many, English and Ceylonese, are troubled by the friendship, but the English planter is charmed by the children’s bond, and ultimately by Chandi’s mother, Premawathi. But the world encroaches on their Eden. Beautifully observed, compellingly plotted, The Flower Boy is a compassionate novel of a lost world and those who struggled to hold on to it.
This study argues that realism in twentieth-century Indian literature functioned as a mode of experimentation and aesthetic innovation - not merely as mimesis of the "real world." Addressing issues of colonialism, Indian nationalism, the rise of Gandhi, religion and politics, and the role of literature in society, Anjaria's analysis will complement graduate study and research in English literature, South Asian studies, and postcolonial studies.
The book titled "I Wish you Nothing!" convey's a range of emotions. Detachment, Apathy, rejection, expectation, a voice screaming and many voices unheard. Embark on a captivating journey through time as each tale unveils the hushed struggles of men. From the scripted expectations of boyhood to the intricate trials faced by retired individuals, these narratives delve into societal norms, relationships, and the pursuit of emotional and mental well-being. Immerse yourself in this expedition into the male journey, where vulnerability intertwines with resilience, transforming the seemingly simple wish for nothing into a profound quest for everything. In some instances, uttering "I wish you nothing" becomes a poignant signal, marking the closure of a relationship or chapter without holding onto resentment. Alternatively, it serves as a succinct expression, conveying that the soul refrains from attaching specific wishes or expectations.
Bombay before Bollywood offers a fresh, alternative look at the history of Indian cinema. Avoiding the conventional focus on India's social and mythological films, Rosie Thomas examines the subaltern genres of the "magic and fighting films"—the fantasy, costume, and stunt films popular in the decades before and immediately after independence. She explores the influence of this other cinema on the big-budget masala films of the 1970s and 1980s, before "Bollywood" erupted onto the world stage in the mid-1990s. Thomas focuses on key moments in this hidden history, including the 1924 fairy fantasy Gul-e-Bakavali; the 1933 talkie Lal-e-Yaman; the exploits of stunt queen Fearless Nadia; the magical neverlands of Hatimtai and Aladdin and the Wonderful Lamp; and the 1960s stunt capers Zimbo and Khilari. She includes a detailed ethnographic account of the Bombay film industry of the early 1980s, centering on the beliefs and fantasies of filmmakers themselves with regard to filmmaking and film audiences, and on-the-ground operations of the industry. A welcome addition to the fields of film studies and cultural studies, the book will also appeal to general readers with an interest in Indian cinema.