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In this revelatory volume, Roberto Calasso, whom the Paris Review has called 'a literary institution', explores the ancient texts known as the Vedas. Little is known about the Vedic people who lived more than three thousand years ago in northern India: they left behind almost no objects, images, ruins. They created no empires. Even the hallucinogenic plant, the soma, which appears at the centre of some of their rituals, has not been identified with any certainty. Only a 'Parthenon of words' remains: verses and formulations suggesting a daring understanding of life. 'If the Vedic people had been asked why they did not build cities,' writes Calasso, 'they could have replied: we did not seek power, but rapture.' This is the ardor of the Vedic world, a burning intensity that is always present, both in the mind and in the cosmos. With his signature erudition and profound sense of the past, Calasso explores the enigmatic web of ritual and myth that define the Vedas. Often at odds with modern thought, he shows how these texts illuminate the nature of consciousness more than neuroscientists have been able to offer us up to now. Following the 'hundred paths' of the Satapatha Brahmana, an impressive exegesis of Vedic ritual, Ardor indicates that it may be possible to reach what is closest by passing through that which is most remote, as 'the whole of Vedic India was an attempt to think further'.
The Ardors is the work of a brilliant thinker as well as a poet of profound emotional and religious feeling. Taking as its starting-point the word 'Pearl," she uses language to delve aggressively but with great elegance into the nature of the human soul, in both eartlhy and divine manifestations. Both of Kathleen Peirce's previous full-length collections have won major prizes.
"Whitesides sticks the landing in his conclusion to the Kingdom of Grit trilogy" (Publishers Weekly). The final book in an action-packed epic fantasy series set in a world with dragon-fueled magic where master con artist Ardor Benn takes a job to steal a living dragon. Ardor Benn has taken his lies to a new level, infiltrating high society so he can steal a priceless resource. But now that he's on the inside, he finds himself poring through ancient texts, searching for answers to his deepest questions. He discovers something is coming. Something world-ending. Now, an old enemy is extorting him for one last job. Steal a live dragon. He doesn't know how, and he doesn't know why. But he's got a feeling that it's a job he has to take. Only problem is, Ard's running short on time and shorter on lies. And his personal ambitions are alienating all of his allies. With no one else to rely on, he'll have to trust the one person nobody else does: himself. Kingdom of Grit:The Thousand Deaths of Ardor BennThe Shattered Realm of Ardor BennThe Last Lies of Ardor Benn
"Mission Impossible, but with magic, dragons, and a series of heists that go from stealing a crown to saving the world" (David Dalglish). Master con artist Ardor Benn and his crew of intrepid thieves are hired to pull off a series of wildly complex heists, from stealing a crown to saving the world, in this daring fantasy adventure. Liar. Thief. Legend. Ardor Benn is no ordinary thief. Rakish, ambitious, and master of wildly complex heists, he styles himself a Ruse Artist Extraordinaire. When a priest hires him for the most daring ruse yet, Ardor knows he'll need more than quick wit and sleight of hand. Assembling a dream team of forgers, disguisers, schemers, and thieves, he sets out to steal from the most powerful king the realm has ever known. But it soon becomes clear there's more at stake than fame and glory -- Ard and his team might just be the last hope for human civilization. Discover the start of an epic fantasy trilogy that begins with a heist and quickly explodes into a full-tilt, last ditch plan to save humanity.
Published two weeks after his seventieth birthday, Ada, or Ardor is one of Nabokov's greatest masterpieces, the glorious culmination of his career as a novelist. It tells a love story troubled by incest. But more: it is also at once a fairy tale, epic, philosophical treatise on the nature of time, parody of the history of the novel, and erotic catalogue. Ada, or Ardor is no less than the superb work of an imagination at white heat. This is the first American edition to include the extensive and ingeniously sardonic appendix by the author, written under the anagrammatic pseudonym Vivian Darkbloom.
Marvin Bell's ninth major collection of poems is groundbreaking, his most provocative and imaginative work to date. The phrase "the dead man" resounds throughout like a drumbeat registering the wisdom and genius of ignorance, fallibility, and mutability with a Zen-like detachment. Defying paraphrase, Bell's new poems demand to be understood in the context of the incantatory line as he illuminates the transcendent inscape in its moment of self-revelation. "The Book of the Dead Man" demolishes boundaries between lyric poetry and serio-comic intensity, and announces a poetics of striking spiritual candor.