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The popular blogger and publisher of Envoy magazine offers 10 key reasons why he loves being Catholic (and you should too). Drawing heavily on poignant anecdotes from his own experience as a life-long Catholic born in 1960s, Madrid offers readers a way of looking at the Church--its members, teachings, customs, and history--from perspectives many may have never considered. Growing up Catholic during a time of great social and theological upheaval and transition, a time in which countless Catholics abandoned their religion in search of something else, Patrick Madrid learned a great deal about why people leave Catholicism and why others stay. This experience helped him gain many insights into what it is about the Catholic Church that some people reject, as well as those things that others treasure. Drawing upon Madrid's personal experiences, Why Be Catholic? offers a deeply personal, fact-based, rationale for why everyone should be Catholic or at least consider the Catholic Church in a new light.
A father follows his runaway daughter into a world of crime and espionage in this thriller by “one of the more sophisticated writers in his field” (Kirkus Reviews). Amy Boxer, the precocious, frustrated daughter of kidnap consultant Charles Boxer and DI Mercy Danquah, has decided on drastic action: She’s leaving home. But Amy can’t just walk out. First she goads her parents with a challenge: YOU WILL NEVER FIND ME. Amy’s destination: Madrid. Here, in the strobe lights of bars and crowded dance clubs, she’s anonymous and untraceable. Except to a volatile, unpredictable leader in the city’s drug trade, the man known only as El Osito. Boxer will use his very specific set of skills to retrace Amy’s quickly vanishing steps. Meanwhile, Detective Inspector Danquah has her own missing person case in London: the young son of a retired Russian secret service agent who’s trying to learn who poisoned his colleague, Alexander Tereshchenko. As the detective begins her search, a body is found in Madrid. And Amy’s father may be the next target . . . The Gold Dagger Award–winning author of A Small Death in Lisbon “demonstrates, as Graham Greene did long ago, that thrillers are the liveliest, most gripping, most thought-provoking literary enterprises going today” (Los Angeles Times Book Review). “Few writers—in any genre—can match Wilson’s depth of character and plot or his evocation of place.” —The Boston Globe
Spanning over 2 centuries, James Gregory's Mercy and British Culture, 1760 -1960 provides a wide-reaching yet detailed overview of the concept of mercy in British cultural history. While there are many histories of justice and punishment, mercy has been a neglected element despite recognition as an important feature of the 18th-century criminal code. Mercy and British Culture, 1760-1960 looks first at mercy's religious and philosophical aspects, its cultural representations and its embodiment. It then looks at large-scale mobilisation of mercy discourses in Ireland, during the French Revolution, in the British empire, and in warfare from the American war of independence to the First World War. This study concludes by examining mercy's place in a twentieth century shaped by total war, atomic bomb, and decolonisation.
This historical romance novel tells the story of Sarita, a young woman suddenly involved in a complicated and dangerous situation. The story portrays vividly the intrigues that evolve in high circles, growing into dangerous decisions and conspiracies. Arthur W. Marchmont has undoubtedly presented the distress of Sarita so vividly that the reader most certainly relates with her and feels whatever she does. The book is considered one of the best fiction of its time. It is a must-read for anyone wanting to obtain a sense of the 19th century.
Tirso de Molina was, with Lope de Vega and Calderon, one of the great dramatists of 17th century Spain, which produced a theatre as vital rich and as varied as its Elizabethan counterpart. The Trickster of Seville is thoroughly representative of the drama of Spain's Golden Age: a drama of fast-moving action which set its face against classical precepts, broke the unities of time and place, cheerfully mixed the serious and the comic, combined main and sub-plots, and cultivated Spanish subjects and Spanish characters. In this respect Tirso's Don Juan is of course, the most famous character in the drama of the Golden Age, as well as the first of a long line which extends through Mozart and Moliere to the 20th century.