Download Free The Curse Of Eve And Other Stories Book in PDF and EPUB Free Download. You can read online The Curse Of Eve And Other Stories and write the review.

"In this collection, acclaimed Mexican writer Liliana Blum presents us with a startling, tender and often hilarious take on modern life. The wry, intimate stories in The Curse of Eve pulse with the ache of abandoned dreams and debauched desires. In the affecting title story, the very ordinary fate of a young mother is laid bare as the stuff of tragedy. In Kisses on the Forehead, a personal ad leads to a desperate tryst between a virgin and a vagabond, while A Model Kit invites us to observe an unorthodox artist and his odious methods of creation. A young woman's adventures with a porn star inspire an unlikely new vocation in God Bless Ron Jeremy, and in To Adorn the Saints the appearance of a naked virgin in the bell-tower wreaks havoc on the village of San Cordelia de Cocoyotl."--Jacket.
In this sequel to The Graces, the youngest witch in the family discovers a secret that has her questioning those closest to her. Now that Wolf is back after his mysterious disappearance, the Grace siblings are determined return to normal—whatever normal is for a family of witches. Except Summer, the youngest Grace. Summer has a knack for discovering the truth—and something is troubling her. But exposing secrets is a dangerous game, and it’s not one Summer can win alone. At Summer’s behest, the coven comes back together, drawing their erstwhile friend River back into the fold. But as the coven’s powers magnify, Wolf’s behavior becomes unpredictable—and Summer must question the nature of the friend she loves. This riveting sequel to The Graces is saturated with magic, the destructive cost of power, and the nature of forgiveness. Praise for The Graces: “Precise, vivid, and immediate. Powerful.” ?Kirkus Reviews “The Graces demands to be read twice: The first time for the suspense; the second for the subtleties you missed initially.” ?New York Times Book Review “Eve conjures up an intriguing vision of small-town mystique.” ?Publishers Weekly “An intoxicating blend of magic and mystery.” ?Danielle Vega, author of The Merciless and Survive the Night “Mysterious, beautiful, and unnerving, The Graces, like its titular family, will keep you enthralled from beginning to end.” ?Samantha Shannon, New York Times bestselling author of The Bone Season “Powerful, deadly, chilling, and compelling. It’s a masterpiece.” ?Melinda Salisbury, author of The Sin Eater’s Daughter
God did not curse Eve or limit woman in any way. Sadly, modern translations of Genesis 3:16 make it look like God did both. God didn't curse Adam either, but God did speak to him in a way exactly parallel to the other rebel in the Garden of Eden, the serpent-tempter. And two curses were imposed by God because of them. People have made up many myths and stories about what supposedly happened in Eden. They make it seem like God cursed the woman and that she somehow deserved it. She didn't. They make it seem like God instituted the man's bad behavior toward his wife. God didn't. The Bible tells us what really happened. And this book is all about what God really said especially in Genesis 3:16. When these chapters in Genesis are rightly understood, and we gain a true view of what God really said to the woman in Genesis 3:16, many New Testament passages can be reinvestigated. They too can be cleared away of the bias we find popping up in translations of, and commentary on, several key passages in the New Testament that look back to Genesis 2 and 3. This book is based on the episodes of Season One of The Eden Podcast (TheEdenPodcast.com).
In The Curse of Eve, the Wound of the Hero, Peggy McCracken explores the role of blood symbolism in establishing and maintaining the sex-gender systems of medieval culture. Reading a variety of literary texts in relation to historical, medical, and religious discourses about blood, and in the context of anthropological and religious studies, McCracken offers a provocative examination of the ways gendered cultural values were mapped onto blood in the Middle Ages. As McCracken demonstrates, blood is gendered when that of men is prized in stories about battle and that of women is excluded from the public arena in which social and political hierarchies are contested and defined through chivalric contest. In her examination of the conceptualization of familial relationships, she uncovers the privileges that are grounded in gendered definitions of blood relationships. She shows that in narratives about sacrifice a father's relationship to his son is described as a shared blood, whereas texts about women accused of giving birth to monstrous children define the mother's contribution to conception in terms of corrupted, often menstrual blood. Turning to fictional representations of bloody martyrdom and of eucharistic ritual, McCracken juxtaposes the blood of the wounded guardian of the grail with that of Christ and suggests that the blood from the grail king's wound is characterized in opposition to that of women and Jewish men. Drawing on a range of French and other literary texts, McCracken shows how the dominant ideas about blood in medieval culture point to ways of seeing modern values associated with blood in a new light, and how modern representations in turn suggest new perspectives on medieval perceptions.
“The Graces demands to be read twice: The first time for the suspense; the second for the subtleties you missed initially.” —The New York Times Book Review Everyone loves the Graces. Fenrin, Thalia, and Summer Grace are attractive, rich, and glamorous, and they’ve cast a spell over their high school—and their entire town. They’re also rumored to have powerful connections all over the world. If you’re not in love with one of them, you want to be one of them. This is especially true for River, the new girl at school. River’s different from the rest of the horde that both revere and fear the Grace family. She’s dark, aloof, and just maybe . . . magical. And she wants to be a Grace more than anything. But what the Graces don’t know is that River’s presence in their town is no accident. The first rule of witchcraft is that if you want something bad enough, you can get it . . . no matter who has to pay. “A teenage girl becomes obsessed with a family of reputed witches . . . vivid . . . powerful.” —Kirkus Reviews (starred review) “Eve conjures up an intriguing vision of small-town mystique, with the Grace family depicted as unknowable and otherworldly—the mystery of whether magic is at play hangs over much of the story—and self-involved, obsessive River’s less-than-trustworthy narration adds to the air of uncertainty.” —Publishers Weekly
Eve gave up her belief in stories and magic after her mother's death, but a mysterious birthday present takes her and a boy who claims to be a ghost on a strange journey, to where their supposedly cursed town flourishes.
Rita M. Gross offers an engaging survey of the changes feminism has wrought in religious ideas, beliefs, and practices around the world, as well as in the study and understanding of religion itself. "This book will be an important resource for all ongoing work in feminist teaching and research in religion."-Rosemary Radford Ruether
'Soldiers Three' concerns the exploits of Privates Mulvaney, Ortheris and Laeroyd; 'The Story of the Gadsbys' introduces an Anglo-Indian family living in the Indian mountains; and 'In Black and White' brilliantly captures the excitement and rich colour of the sub-continent.
A radical combination of emerging and established Mexican authors of original tales of the fantastic.
NANO Fiction (print ISSN 1935-844X; digital ISSN 2160-939X) is non-profit literary journal that publishes flash fiction—a form of short story also known as micro fiction, micro narrative, micro-story, microrrelatos, postcard fiction, the short short, the short short story, kürzestgeschichten, and sudden fiction—of 300 words or fewer. Featuring twenty to thirty authors in each issue, NANO Fiction has roots that draw from Aesop’s Fables and Zen Koans. Notable practitioners of this prose form include Lydia Davis, Franz Kafka, Italo Calvino, Ignacio Martínez de Pisón, Naguib Mahfouz, and Linor Goralik, among others. This issue of NANO Fiction features works by: Edgar Omar Avilés, Ken Baumann, Mark Blickley, Randall Brown,Blake Butler, Kim Chinquee, Rebecca Cross, Ryan Dilbert, Jenny Ferguson, Brian Foley, Jeff Foster, David Galef, Katherine Grosjean, Annalynn Hammond, Steve Himmer, Jamie Iredell, Toshiya Kamei, Sean Kilpatrick, J.T. Ledbetter, Kendra Grant Malone, Devin Murphy, Josh Olsen, Anthony Opal, Matthew Savoca, Peter Schwartz, Daniel Spinks, Bob Thurber, James R. Tomlinson, Raymond Uhlir, and Thad DeVassie.