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The book that spawned Finding Fanny 'It doesn't matter where you go,' I tell them. 'Travelling just means getting out of where you were.' Which is my half-assed way of saying, if they have stumbled through my doorway, they are lost as hell. Off the guidebook grid. Bumfuck nowhere, in other words.Pocolim is a little village somewhere - or nowhere - in Goa. It is home to Ferdie, the postman, who sets out to find his long-lost love, Millie. Along for the ride in a recently repaired vintage car are the most unlikely companions: his friend Angie, the sweet, virginal widow; her mother-in-law, the extraordinarily corpulent and bossy, Rosalina Eucharistica; renowned painter, Don Pedro who finds lost inspiration in the vastness of Rosalina's body; and Savio, friend of Angie's late husband and once contender for her love. On the road, resentments, ambitions, bitterness and desires come to a boil; as disturbing secrets tumble out, redemption strikes where they least expect it.The Village of Pointless Conversation is a sensuous, funny, full-bodied affair, shot through with quiet gloom that peels off the thin skin of pretence under which lie all our human absurdities.
On the eve of the First World War, a little girl is found alone after a gruelling ocean voyage from England to Australia. All she can remember is that a woman she calls the Authoress had promised to look after her. But the Authoress has vanished.
In Half Boyfriend a feudal rich boy from a village courts a gorgeous city brat who has a weakness for lost causes. They go through a series of pointless events and unbelievable coincidences in a dead-end plot that has to end with the chuavinist sleeping with the girl.
In Texts, Rocks, and Talk biblical scholar and teacher John Lanci suggests that many have lost the ability to focus on the essentials, to experience a Jesus Christ alive and powerful in our midst. He responds by inviting readers on a journey back to the Bible. Lanci conveys the experience of interpreting the Bible, inviting readers to witness the interpretation of one particular passage from the Hebrew Bible and one from the New Testment from start to finish. Along the way he covers some of the same ground that biblical introductions present, as he explains what interpreters do and why they do it. Readers will gain a deeper understanding of the need to interpret texts and greater confidence in their ability to enter into the conversation that sacred texts provide. They will also have a greater confidence in the possibility that their Christian community can open itself up to that divine conversation. Texts, Rocks, and Talk can serve as an introduction to the Bible textbook for college undergraduates, parish discussion groups, or individuals who do not have a lot of theological background but are interested in finding their way into the Bible. The chapters are relatively short and clearly written, with questions for reflection and discussion. Chapters in Preliminaries are "Why Take It on the Road?" "What the Bible Is Not, " and "A Preview of Coming Attractions: What the Bible Is." Chapters in The Song of Songs are "Sex on the Page, " "Healthy Suspicion: A Walking Staff for Our Journey, " "What is the Book?" "Lo and the Rocks, " "Lifestyles of the Dead and Buried: What Archaeology Is and What It Is Not, " "Making the Heart Forget: The Love Songs of Ancient Egypt, " and "The Egyptian LoveSongs and the Song of Songs." The chapter in An Interlude is "An Interlude with Jesus and Christ." Chapters in First Corinthians are "Our Brother Paul, " "We Raise an Eyebrow in Surprise: Paul, the Corinthians, and a Letter, " "The Rhetoric of a Text, " "What Kind of Fool Is God?" "A Little History, a Little Wisdom, a Little Mystery, " "The Rigamorale of Roman Power and Corinthian Rocks, " "The No-Relax Tour Continues into Darker Realms, " and "The Great Reversal." Chapters in Talk: Counterimagining the Wor are "Three Umbrellas and a Sea Change, " "Counterimagining the World, " "We Confront the Passion of God, " "In Praise of Christian Flesh, " and "The Journey, Not the Arrival, Matters." Includes an Introduction, Epilogue, and Notes, Citations, Suggestions for Further Readings.
Welcome to the monstrous world of Venari. Try not to get eaten. Elkbury is an idyllic village, hidden away in a rural area of pseudo-medieval Venari. It's a place free of death and disease due to a mysterious ceremony called the Banishment. It's a secret system that has worked well for decades. But, secrets rarely stay secret forever. When Hedwin's grandmother is about to undertake her own Banishment, he and his best friend Laura Beth decide to find out what their beloved Anastasia is about to experience. Just like disease, murder has no place in Elkbury, but it has wormed its way in. Wren Goodwort takes it upon herself to find the mysterious killer and clear her name in the process. Soon Wren, Hedwin, Laura Beth, and the rest of the villagers are thrown together to fight for their lives as deadly, monstrous, and hungry secrets are uncovered and Elkbury's delicate balance is destroyed. "Banished" will introduce you to your new favourite monsters; some human, some not.
Her name was Cindy, and she was his neighbour's wife - the woman next door in the kind of suburbia that didn't make headlines. These were real people, nice people like Cindy and Carl who fought with the desperation of the damned to keep from wanting each other. Suddenly, though, it was the right time, right place. And there was no room left for pretence. In that moment all innocence drained out of their lives. Two real people, two nice people, became creatures of passion - and guilt.
Lu Xun (1881–1936), arguably twentieth-century China’s greatest writer, is commonly cast in the mold of a radical iconoclast who vehemently rejected traditional culture. The contradictions and ambivalence so central to his writings, however, are often overlooked. Challenging conventional depictions, Eileen J. Cheng’s innovative readings capture Lu Xun’s disenchantment with modernity and his transformative engagements with traditional literary conventions in his “modern” experimental works. Lurking behind the ambiguity at the heart of his writings are larger questions on the effects of cultural exchange, accommodation, and transformation that Lu Xun grappled with as a writer: How can a culture estranged from its vanishing traditions come to terms with its past? How can a culture, severed from its roots and alienated from the foreign conventions it appropriates, conceptualize its own present and future? Literary Remains shows how Lu Xun’s own literary encounter with the modern involved a sustained engagement with the past. His creative writings—which imitate, adapt, and parody traditional literary conventions—represent and mirror the trauma of cultural disintegration, in content and in form. His contradictory, uncertain, and at times bizarrely incoherent narratives refuse to conform to conventional modes of meaning making or teleological notions of history, opening up imaginative possibilities for comprehending the past and present without necessarily reifying them. Behind Lu Xun’s “refusal to mourn,” that is, his insistence on keeping the past and the dead alive in writing, lies an ethical claim: to recover the redemptive meaning of loss. Like a solitary wanderer keeping vigil at the site of destruction, he sifts through the debris, composing epitaphs to mark both the presence and absence of that which has gone before and will soon come to pass. For in the rubble of what remains, he recovered precious gems of illumination through which to assess, critique, and transform the moment of the present. Literary Remains shows how Lu Xun’s literary enterprise is driven by a “radical hope”—that, in spite of the destruction he witnessed and the limits of representation, his writings, like the texts that inspired his own, might somehow capture glimmers of the past and the present, and illuminate a future yet to unfold. Literary Remains will appeal to a wide audience of students and scholars interested in Lu Xun, modern China, cultural studies, and world literature.
The friendship of three buddies, Adam, Nim, and Rocky, goes bad. Two die, but all of them enter into new life with the Prince in charge of world affairs. The mystery of their deaths in the old age looms in the background. Will anyone be held responsible? A crusty detective takes up their cause but is blocked. Adam endures the wilderness to find his family. They lead him to his new mission: to teach thousands of orphans about life and love. Nim deals with loss and an enemy from the past, and Rocky changes his identity. One of them plans insurrection. This book explores future relationships set in a global society where time doesnt seem to matter. Working within a righteous society governed by the Prince, citizens must invent technology to advance industry, economy, art, and science, while learning new traditions of the spirit world and worship. Immortals live peacefully with mortals who dont always comply. Evil has been restrained, except in the hearts of some. Can tensions be resolved to assure peace? Only Rule in heaven knows, and Hes not ready to reveal answers. Its a wild ride.
Not a predictable girl is she but is wicked than they had ever thought. A soul with the willpower to possess an entire planet, reality and system, between extraordinary beings with peculiar features called the Venxes. But before she encountered into her unpredicted, dubious future, she had always pictured herself being nothing but an astronaut and living up to her father’s expectations, although before she forged ahead with her plan, Orkkimer arrived. A creature that stirs amid the people of Earth, wearing the shape of a man and acting the behaviour of foolishness, he was charged to penetrate her soul with power. But despite his failure, he had been unintentionally increasing her desire to become an astronaut even more and spurring her all along with the one thing most Venxes were born with and that is the ability to possess a form of neurological communication with other creatures. Although she wonders, how come she was plagued with a fate to rule these extraordinary creatures while she is only a normal Earthling? And who are these creatures so called Venxes? What is Broudnox? Encounter into this highly unreal and stirring journey to Broudnox with Hannah and Orkkimer to find out how did Hannah come to Broudnox, a planet that in reality exists. Open up your imagination and let it wander. “They had very tall bodies; some had noses that reached their deep belly buttons, and are usually seen with wings on their back – featherless fluttering wings, and sharp eyes that are seen as embers in the day-light and as glowing pair of eyes in the darkness. Not so different from mankind, but not so close either. Though, they differed from the Bygone race as they were more brutal and less wise.”