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A novel exploring human relations. Its hero is a Hungarian writer who lives through the 1956 Hungarian Revolution and has a homosexual affair with a German poet in East Berlin.
*Winner of the Chicago Review of Books Award for Fiction* A Heartland Booksellers Award Nominee An NPR Best Book of the Year A BookPage Best Book of the Year A Library Journal Best Winter/Spring Debut of 2020 A Most Anticipated Book of 2020 from the Boston Globe and The Millions A Best Book of February 2020 at Salon, The Millions, LitHub and Vol 1. Brooklyn “A stunner—equal parts epic and intimate, thrilling and elegiac.”—Laura Van den Berg, author of The Third Hotel The mesmerizing story of a Latin American science fiction writer and the lives her lost manuscript unites decades later in post-Katrina New Orleans In 1929 in New Orleans, a Dominican immigrant named Adana Moreau writes a science fiction novel. The novel earns rave reviews, and Adana begins a sequel. Then she falls gravely ill. Just before she dies, she destroys the only copy of the manuscript. Decades later in Chicago, Saul Drower is cleaning out his dead grandfather’s home when he discovers a mysterious manuscript written by none other than Adana Moreau. With the help of his friend Javier, Saul tracks down an address for Adana’s son in New Orleans, but as Hurricane Katrina strikes they must head to the storm-ravaged city for answers. What results is a brilliantly layered masterpiece—an ode to home, storytelling and the possibility of parallel worlds.
My name is Pabi Ae. I forget. That’s what I do. So before I forget again, before these events of my life fade, turning from history in legend, I have committed them here to ink as best as I can. My tale happened not long ago, when the undying Phoenix Emperor still sat upon his throne, ruling his ever diminishing empire as if it would last forever. But the gods look down on all things forever, and they raised a personified storm to change this world. I served her, the Storm, Targa Tik, carried along in her wake as flotsam and jetsam washed up onto the shore. I was her maid, and my duty was to clean up her messes, ones measured in blood and immortal lives, but that’s not what I wanted. What I wanted was a boy of my own, some friendly shadows, and a real family. All I had to do was quit before she killed again.
The contributors to the present volume approach World War I and World War II as complex and intertwined crossroads leading to the definition of the new European (and world) reality, and deeply pervading the making of the twentieth century. These scholars belong to different yet complementary areas of research – history, literature, cinema, art history; they come from various national realities and discuss questions related to Italy, Britain, Germany, Poland, Spain, at times introducing a comparison between European and North American memories of the two World War experiences. These scholars are all guided by the same principle: to encourage the establishment of an interdisciplinary and trans-national dialogue in order to work out new approaches capable of integrating and acknowledging different or even opposing ways to perceive and interpret the same historical phenomenon. While assessing the way the memories of the two World Wars have been readjusted each time in relation to the evolving international historical setting and through various mediators of memory (cinema, literature, art and monuments), the various essays contribute to unveil a cultural panorama inhabited by contrasting memories and by divided memories not to emphasise divisions, but to acknowledge the ethical need for a truly shared act of reconciliation.
From the author of The Three-Body Problem, The Dark Forest, and Death's End comes a story about unborn memories. With The Three-Body Problem, English-speaking listeners got their first chance to experience the multiple-award-winning and bestselling Three-Body Trilogy by China's most beloved science fiction author, Cixin Liu. The Weight of Memories is a Tor.com Original story. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
This volume engages with memory of the Holocaust as expressed in literature, film, and other media. It focuses on the cultural memory of the second and third generations of Holocaust survivors, while also taking into view those who were children during the Nazi period. Language loss, language acquisition, and the multiple needs of translation are recurrent themes for all of the authors discussed. By bringing together authors and scholars (often both) from different generations, countries, and languages, and focusing on transgenerational and translational issues, this book presents multiple perspectives on the subject of Holocaust memory, its impact, and its ongoing worldwide communication.
Degrees of Freedom Uncertainty This is the degrees of freedom uncertainty rule [which actually allows us freedom]. We can never be sure which individual went this way and which went the other way [that is what entropy and Carnot’s ‘jinks’ on Maxwell’s demons is all about]. This is a statistical population; there are enough members to apply the statistical rule [the rule of large numbers]. That is the same rule [just inverted] as the degrees of freedom uncertainty principle [which says that you cannot specify Newtonian activity on populations that provide excellent statistical results because of the same theory of large numbers. - You can’t have your cake and eat it too [precisely what Carnoy meant]. Also, the difficulties with this rule could be resolved easily; by applying the viewpoint of harmonics. So, under the degrees of freedom uncertainty [when that applies {strongly enough}] you have harmonics. This is the fact that systems under the rule of degrees of freedom uncertainty and that are constrained [in certain natural or “harmonics” ways.] can form “natural” patterns. Harmonics [the name] refers to the patterns since they form in harmonic kine [a set of eigenfunctions]. The pattern does not specify where any part [molecule] is at or how fast it is going. The pattern is an envelope of probability distribution for the randomly distributed contents. This does not allow Maxwell's Demons to sneak some particles into a special place to violate equilibrium rules. Demythologizing Jung Demythologizing and deconstruction is the territory of the post-structuralist. But reconstruction should be the goal of such endeavors. Here the deconstruction of Jung's archetypes is reconstructed into a meaningful, workable, and useful concept of how the mind works. This effort is about the mind and the algorithms that the mind uses to process information. In the brain, pictures are a very important part of the information processing; but computer processing is approaching that state now as well. Here the mind is the program. That mind can use different algorithms in its programming to solve its “problems”. Recognizing these algorithms is our desire for this study. I start with Jung’s Archetype algorithms and proceed to expand that into a more complete recognition of mental algorithms. The process of understanding conversation is to compare the text of a sentence with contextual information we have. The question is: “How do we store and retrieve the context in our grammar?” It is not stored using relational algebra, which is the method we use to store computer database data for efficient computer store and retrieve mechanisms. Relational data storage is not fast enough and it is not broad enough in its combinatorial strength to explain the minds process. The mind has a way of producing mental objects out of the interpretation of external information. A fresh encounter with the outer world is analyzed by a neural network. The information is carried by nerves from the sensing point. These nerve signals are then filtered through neural networks. The archetype [Jung] for that area of mental processing is the link with the conscious. From this link, a memory object can be extended from the archetype (as base class). Then the extended archetype layer becomes the output layer of the neural network. Note the archetype layer serves both as the interpretation function determining layer (how the input is interpreted) and, in the instantiation of the object from the base class extended to a memory object from (based on the neural interpretation). This is a probabilistic process that is under constraints. The process is probabilistic but the constraints provide limitations so the result that is controlled by these limitations produces a meaningful pattern. Thus the constraints prevent dissipation, and encourage meaningful results. The constraints in the young child are the archetypes. As we grow older our minds develop aggregate (abstract) classes that are useful as though they were archetypes. These archetypes and aggregates constrain the mental process so that meaningful patterns result from the interpretation process. The features of the archetypal classes, relating to the attributes and methods of a class, are then the similar to the neural network activation functions. With input (our nerves send these signals about our present context) these features are used to interpret the signals (our internal program adapts them to interpretation of the input signals). When applied to a memory object in our conscious mind, the features (activation functions) are used in a way that they make the memory object useful and meaningful in our thought process. Remember the class here is a (hidden) layer of the neural network not a single node. Also an abstract class can be extended into a memory object (as a real [visible] class). (Also see books by Dr. Jerome Heath: https://sites.google.com/site/jbhcontextcalculus/)
A man wakes in the wilderness, amid scattered corpses and inquisitive crows. He has no memory of who he is or how he came to be there. The only clues to his former existence lie in his apparent skill with a sword and the fragmented dreams that permeate his sleep.