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David Kepesh is white-haired and over sixty, an eminent TV culture critic and star lecturer at a New York college, when he meets Consuela Castillo, a decorous, well-mannered student of twenty-four, the daughter of wealthy Cuban exiles, who promptly puts his life into erotic disorder. Since the sexual revolution of the 1960s, when he left his wife and child, Kepesh has experimented with living what he calls an "emancipated manhood," beyond the reach of family or a mate. Over the years he has refined that exuberant decade of protest and license into an orderly life in which he is both unimpeded in the world of eros and studiously devoted to his aesthetic pursuits. But the youth and beauty of Consuela, "a masterpiece of volupté" undo him completely, and a maddening sexual possessiveness transports him to the depths of deforming jealousy. The carefree erotic adventure evolves, over eight years, into a story of grim loss. What is astonishing is how much of America’s post-sixties sexual landscape is encompassed in THE DYING ANIMAL. Once again, with unmatched facility, Philip Roth entangles the fate of his characters with the social forces that shape our daily lives. And there is no character who can tell us more about the way we live with desire now than David Kepesh, whose previous incarnations as a sexual being were chronicled by Roth in THE BREAST and THE PROFESSOR OF DESIRE. A work of passionate immediacy as well as a striking exploration of attachment and freedom, THE DYING ANIMAL is intellectually bold, forcefully candid, wholly of our time, and utterly without precedent--a story of sexual discovery told about himself by a man of seventy, a story about the power of eros and the fact of death.
Philip Roth's The Breast is a funny, fantastical story and a bizarre yet daring exploration of sex and subjectivity. David Kepesh wakes up one morning in the hospital, mysteriously altered. Through an endocrinopathic catastrophe of unprecedented proportions, he has been transformed into a 155-pound human female breast. Railing at the incomprehensible, he uses his intelligence to deny and resist the thing he has become. Ultimately, he must accept his fate.
Like a hospice worker, author Rita M. Reynolds cares for sick and dying animals, helping them comfortably cross the threshold into death. She shares stories about dogs, cats, a donkey, a cow, ducks, goats, and even baby wild mice she cares for as they die. Reynolds teaches basic skills in respectfully handling a dying animal, whether it's a newborn bird that's fallen from a tree or a beloved dog that is terminally ill. Her new edition includes blessings and prayers for animals, whether in the process of dying or who have already passed over. Reynolds believes in divine and angelic influences when it comes to helping animals cross over. She believes animals possess unique souls that transform into an afterlife. She even tells of seeing the spirits of dead animals and messages they bring her. Many of Reynolds' lessons are conveyed through real-life stories, where the reader witnesses how she simultaneously releases and embraces dying animals. Like The Tibetan Book of the Dead, this book has functional appeal and longevity. This book appeals to anyone grieving and looking for comfort.
Gail Pope, founder and director of BrightHaven, a holistic animal sanctuary and hospice in northern California, created this booklet to provide both knowledge and comfort to those who are accompanying a beloved animal companion on the journey to transition. It is written as a simple guide to the specific signs and symptoms you may encounter during each stage of the actual dying process, which may begin several months before death finally occurs.
This collection of forty new essays, written by the leading scholars in adaptation studies and distinguished contributors from outside the field, is the most comprehensive volume on adaptation ever published. Written to appeal alike to specialists in adaptation, scholars in allied fields, and general readers, it hearkens back to the foundations of adaptation studies a century and more ago, surveys its ferment of activity over the past twenty years, and looks forward to the future. It considers the very different problems in adapting the classics, from the Bible to Frankenstein to Philip Roth, and the commons, from online mashups and remixes to adult movies. It surveys a dizzying range of adaptations around the world, from Latin American telenovelas to Czech cinema, from Hong Kong comics to Classics Illustrated, from Bollywood to zombies, and explores the ways media as different as radio, opera, popular song, and videogames have handled adaptation. Going still further, it examines the relations between adaptation and such intertextual practices as translation, illustration, prequels, sequels, remakes, intermediality, and transmediality. The volume's contributors consider the similarities and differences between adaptation and history, adaptation and performance, adaptation and revision, and textual and biological adaptation, casting an appreciative but critical eye on the theory and practice of adaptation scholars--and, occasionally, each other. The Oxford Handbook of Adaptation Studies offers specific suggestions for how to read, teach, create, and write about adaptations in order to prepare for a world in which adaptation, already ubiquitous, is likely to become ever more important.
From the Pulitzer Prize–winning author of American Pastoral comes a funny, chilling novel set in a small town in the 1940s Midwest, featuring a young woman whose moral goodness may destroy her. "High, careful tragedy, nasty as life, and Roth emerges ... as a Dreiser who can write!" —Stanley Elkin When she was still a child, Lucy Nelson had her alcoholic failure of a father thrown in jail. Ever since then she has been trying to reform the men around her, even if that ultimately means destroying herself in the process. With his unerring portraits of Lucy and her hapless, childlike husband, Roy, Roth has created an uncompromising work of fictional realism, a vision of provincial American piety, yearning, and discontent that is at once pitiless and compassionate.
The island of Anacapa, off the coast of California, is overrun with black rats which are threatening the ancient population of ground-nesting birds. Alma Boyd Takesue of the National Park Service is campaigning to exterminate them once and for all, but her systematic plan is in danger of sabotage by two notorious environmental activists, Anise Reed and Dave LaJoy. But when Alma's sights turn to the infestation of non-native pigs on the island of Santa Cruz - where Anise was brought up by her rancher mother - the stakes are raised and the debate threatens to boil over into something much more real...
Animal death is a complex, uncomfortable, depressing, motivating and sensitive topic.
In everyday language, "Smith offers us important teachings and reflections for dealing with death and embracing life" (Jack Kornfield, author of "A Path with Heart").
The New York Times bestseller that inspired the Sundance Grand Jury Prize-winning film. The funniest book you’ll ever read about death. It is a universally acknowledged truth that high school sucks. But on the first day of his senior year, Greg Gaines thinks he’s figured it out. The answer to the basic existential question: How is it possible to exist in a place that sucks so bad? His strategy: remain at the periphery at all times. Keep an insanely low profile. Make mediocre films with the one person who is even sort of his friend, Earl. This plan works for exactly eight hours. Then Greg’s mom forces him to become friends with a girl who has cancer. This brings about the destruction of Greg’s entire life. “Mr. Andrews’ often hilarious teen dialogue is utterly convincing, and his characters are compelling. Greg’s random sense of humor, terrible self-esteem and general lack of self-awareness all ring true. Like many YA authors, Mr. Andrews blends humor and pathos with true skill, but he steers clear of tricky resolutions and overt life lessons, favoring incremental understanding and growth.” —Pittsburgh Post-Gazette “One need only look at the chapter titles (‘Let’s Just Get This Embarrassing Chapter Out of the Way’) to know that this is one funny book.” —Booklist (starred review) “Though this novel begs inevitable thematic comparisons to John Green’s The Fault in Our Stars, it stands on its own in inventiveness, humor and heart.” —Kirkus Reviews (starred review)