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The Florio family, a rich society couple with two beautiful adopted daughters, is hiding dark secrets beneath a facade of love and care. But the fabric of the family is slowly unraveling under the weight of Barbara Florio's chronic drinking and drug abuse as well as the youngest daughter's penchant for arson. After the divorce of Michael and Barbara Florio, Therese's psychological problems escalate and when she sets fire to her expensive collection of dolls, it seems an eerie prophecy of the fire that soon after takes her drugged and unconscious mother. Under the suspicion that his daughter has indeed killed her mother, Michael Florio whisks both Therese and her older sister, Devon, away to his remote country house in the Italian province of Umbria. But one woman is determined to help Therese overcome her psychological problems and uncover the truth: her biological mother, Rebecca will stop at nothing to extricate Therese from what she views as a dangerous situation. Rebecca infiltrates the Florio family, posing as a nanny in search of work, and then finds herself passionately drawn to Michael Florio. But as Rebecca grows more and more attracted to Michael, Devon begins to act out. And Rebecca begins to wonder if Michael Florio is a master of mind-control and his two daughters pawns in his sinister games. Taking her daughter, Rebecca flees and turns to the only person who may be able to help: Therese's biological father, Ryan Foster, who is practicing medicine in a remote Mexican town and whom she hasn't seen in years. But Michael Florio refuses to simply let Therese disappear from the Florio family. He follows the fugitives to Foster's house where Rebecca must finally decide whether her passion for Michael has blinded her to the truth about him.
Winner of the 2020 Seamus Heaney First Collection Prize. Winner of the East Anglian Book Award for Poetry 2020. The Guardian's Poetry Book of the Month August 2019. So Many Rooms, the debut collection from Geoffrey Dearmer Prize-winning poet Laura Scott, moves with its own lyric strangeness, opening up different rooms and also different worlds.
“This work is not addressed only to scholars of Judaism or theologians, but also, and primarily, to all Jews and non-Jews who would like to share the thoughts and struggles of a person who loves Torah and Halakhah, who is committed to helping make room for and celebrate the religious and cultural diversity present in the modern world, and who believes that a commitment to Israel and to Jewish particularity must be organically connected to the rabbinic teaching, ‘Beloved are all human beings created in the image of God.’” —from the Introduction With clarity, passion, and outstanding scholarship, David Hartman addresses the spiritual and theological questions that face all Jews and all people today. From the perspective of traditional Judaism, he helps us understand the varieties of twentieth-century Jewish practice and shows that commitment to both Jewish tradition and to pluralism can create bridges of understanding between people of different religious convictions.
When your faith begins to feel too small, too confining, you could choose to leave it. But what if the faith we inhabit is roomier than we'd thought? What if our collapsing faith is just a closet in a much larger dwelling? Disillusioned by narrow theologies, church dysfunction, and constricted readings of Scripture, people are leaving Christianity in droves. But Jesus describes the reign of God as a house with many rooms, writes author Debie Thomas, one of the most auspicious voices in religious writing today. In this work of sprawling spiritual and literary imagination, Thomas claims that wherever God dwells, there is expansiveness and belonging. Thomas knows what a cramped faith feels like, what it's like to wrestle your way out of fundamentalism and toward a more capacious faith. From the diasporic church in which she grew up, which traces its lineage to the doubting disciple in India in the first century, to the disorientations of a deconstructing faith, to an ample yet orthodox Christianity that makes room for all her identities, Thomas takes readers on a deeply personal and profoundly theological odyssey. In A Faith of Many Rooms, she talks back to jaundiced versions of faith and finds evidence that the gospel insists on its own roominess. The kind of God who decided to experience the world as a guest likely feels constrained by our pinched theologies too. What sorts of ruptures and revisions would it take to find a more spacious faith--and then to inhabit it with authenticity and joy? Readers of Christian Wiman, Cole Arthur Riley, and Barbara Brown Taylor will find in these pages an ardent, lyrical take on a faith transfigured.
Places of worship are the true building blocks of communities where people of various genders, age, and class interact with each other on a regular basis. These places are also rallying points for immigrants, helping them make the transition to a new, and often hostile environment. The Many Rooms of this House is a story about the rise and decline of religion in Toronto over the past 160 years. Unlike other studies that concentrate on specific denominations, or ecclesiastical politics, Roberto Perin’s ecumenical approach focuses on the physical places of worship and the local clergy and congregants that gather there. Perin’s timely and nuanced analysis reveals how the growing wealth of the city stimulated congregations to compete with one another over the size, style, materials, and decoration of their places of worship. However, the rise of individualism has negatively affected these same congregations leading to multiple church closings, communal breakdown, and redevelopments. Perin’s fascinating work is a lens to understanding how this once overwhelmingly Protestant city became a symbol of diversity.
SHORTLISTED FOR THE QWF MAVIS GALLANT PRIZE FOR NON-FICTION THE GLOBE 100: THE BEST BOOKS OF 2022 From LAMBDA Literary Award winner Sina Queyras, Rooms offers a peek into the defining spaces a young queer writer moved through as they found their way from a life of chaos to a life of the mind Thirty years ago, a professor threw a chair at Sina Queyras after they’d turned in an essay on Virginia Woolf. Queyras returns to that contentious first encounter with Virginia Woolf to recover the body and thinking of that time. Using Woolf’s A Room of One’s Own as a touchstone, this book is both an homage to and provocation of the idea of a room of one’s own at the centre of our idea of a literary life. How central is the room? And what happens once we get one? Do we inhabit our rooms? Or do the rooms contain us? Blending memoir, prose, tweets, poetry, and criticism, Rooms offers a peek into the defining spaces a young queer writer moved through as they found their way from a life of chaos to a life of the mind, and from a very private life of the mind to a public life of the page, and from a life of the page into a life in the Academy, the Internet, and on social media. "With Virginia Woolf alongside them, Queyras journeys through rooms literal and figurative, complicating and deepening our understanding of what it means to create space for oneself as a writer. Their hard-won language challenges us to resist any glib associations of Woolf’s famous ‘room’ with an easy freedom. Inspiring and moving, Queyras’s memoir testifies to Woolf’s continuing generative power."—Mark Hussey, editor of Virginia Woolf's Between the Acts (2011) and author of Clive Bell and the Making of Modernism (2021) "In this beautiful, perceptive book, Sina Queyras moves deftly between the words and wake of Virginia Woolf and their own formation as writer, lover, teacher, friend, and person. Rooms is expert in its depiction of personal and literary histories, and firmly aware of its moment of composition. Reading these pages, I was enticed by Queyras’s curiosity and openness, thrilled by the sharp edges of their anger. Tight prose, electric thinking, self-discovery – it’s all here, all abuzz. Rooms is alive." – Heather Christle, author of The Crying Book "It is impossible not to question the world as we thought we knew it by the end of this book. Sina Queyras painstakingly aims their extraordinary nerve and talent at Virginia Woolf’s idea of a room of one’s own: 'It’s a mistake to consider the room without all of its entanglements.' Taking Woolf’s cue, Queyras explores writing that is not world-building but something far more generous and transformative; as Woolf wrote, 'Literature is open to everybody.'" – CAConrad, author of AMANDA PARADISE: Resurrect Extinct Vibration
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Exploring the different points of view and 'tones of voice' adopted in theology for the meeting of religions, this book presents a contemporary philosophical and theological engagement with key issues of how different faiths might meet, of comparative philosophy of religion, of the use of aesthetics, of inter-religious ethics and issues relating to the self. Providing a critical evaluation of contemporary liberal, post-liberal and conservative voices, and an engagement with movements such as Radical Orthodoxy and Scriptural Reasoning to mention a few, this book highlights the use of the creative imagination and explores new ideas for the meeting of religions.
The House of the Cylinder Jars details the archaeological excavations led by Patricia L. Crown at Pueblo Bonito’s famed Room 28 in Chaco Canyon in 2013. Originally excavated in 1896 by the Hyde Exploring Expedition, Room 28 gained notoriety for its incredible assemblage of 174 whole ceramic vessels. Crown and her team reopened Room 28 after she and Jeffrey Hurst discovered residues of chocolate in cylinder jar fragments from Pueblo Bonito in 2009. Their research revealed the first evidence of chocolate north of the US-Mexico border and possibly linked Chacoan rituals surrounding cacao use to Mesoamerica. The House of the Cylinder Jars documents the re-excavation of Room 28, and places it within the context of other rooms at Pueblo Bonito, and describes the ritual termination by fire of the materials stored in the room. The contributors also offer a modern interpretation of the construction and depositional histories of surrounding spaces at Pueblo Bonito in Chaco Canyon.