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Now a major motion picture starring Matthew McConaughey and Idris Elba In The Wind Through the Keyhole, Stephen King returns to the rich landscape of Mid-World, the spectacular territory of the Dark Tower fantasy saga that stands as his most beguiling achievement. Roland Deschain and his ka-tet--Jake, Susannah, Eddie, and Oy, the billy-bumbler--encounter a ferocious storm just after crossing the River Whye on their way to the Outer Baronies. As they shelter from the howling gale, Roland tells his friends not just one strange story but two...and in so doing, casts new light on his own troubled past. In his early days as a gunslinger, in the guilt-ridden year following his mother's death, Roland is sent by his father to investigate evidence of a murderous shape-shifter, a "skin-man" preying upon the population around Debaria. Roland takes charge of Bill Streeter, the brave but terrified boy who is the sole surviving witness to the beast's most recent slaughter. Only a teenager himself, Roland calms the boy and prepares him for the following day's trials by reciting a story from the Magic Tales of the Eld that his mother often read to him at bedtime. "A person's never too old for stories," Roland says to Bill. "Man and boy, girl and woman, never too old. We live for them." And indeed, the tale that Roland unfolds, the legend of Tim Stoutheart, is a timeless treasure for all ages, a story that lives for us. King began the Dark Tower series in 1974; it gained momentum in the 1980s; and he brought it to a thrilling conclusion when the last three novels were published in 2003 and 2004. The Wind Through the Keyhole is sure to fascinate avid fans of the Dark Tower epic. But this novel also stands on its own for all readers, an enchanting and haunting journey to Roland's world and testimony to the power of Stephen King's storytelling magic.
In 1857, a group of young people who had participated in an orgy in a private mansion was sentenced for contempt of public decency (outrage public à la pudeur) because a voyeur was able to watch them through a keyhole. For Marcela Iacub, the crux of such cases hinges on where the public ends and the private begins, and what one can reveal, and what one ought to hide. Today, the term pudeur has disappeared from the French penal code to be replaced by Sex. But, far from being an epic story of hard-won freedom, Iacub demonstrates that the transformation techniques used by the State in the last two centuries have rendered sexuality into a spectacle and have conditioned our spaces, our clothes, our comportment and even some of our mental illnesses. In so doing, Iacub offers us a politico-legal history of the gaze.
Since the Second World War, rapid developments in the economy, family structure, technology, employment, and lifestyle have transformed the home. Avi Friedman and David Krawitz guide the reader through the trends and changes, many of them ill-conceived and wasteful, that have influenced residential design and construction over the last fifty years. Offering pragmatic suggestions for many problems, including the damages caused by suburban sprawl, the limits of standard single-family dwellings, and the widening gap between rich and poor, Peeking Through the Keyhole unravels the effects of technology and consumerism on the way we perceive and use domestic space.
Scandal existed long before celebrity gossip columns, often hidden behind the closed doors of the Georgian aristocracy. But secrets were impossible to keep in a household of servants who listened at walls and spied through keyholes. The early mass media pounced on these juicy tales of adultery, eager to cash in on the public appetite for sensation and expose the shocking moral corruption of the establishment. Drawing on a rich collection of original and often outrageous sources, this book brings vividly to life stories of infidelity in high places – passionate, scandalous, poignant and tragic. It reveals how the flood of print detailing sordid sexual intrigues created a national outcry and made people question whether the nobility was fit to rule. Susan C. Law is a journalist and historian. Her work has been published in a wide range of newspapers and magazines, including The Times Higher Education Supplement, BBC History Magazine and London Evening Standard. Dr Law completed her PhD in History at Warwick University, and has spent many years researching the 18th and 19th century aristocracy, servants, family life and country houses.
"[The Woman at the Keyhole is one] of the most significant contributions to feminist film theory sin ce the 1970s." -- SubStance "... this intelligent, eminently readable volume puts women's filmmaking on the main stage.... serves at once as introduction and original contribution to the debates structuring the field. Erudite but never obscure, effectively argued but not polemical, The Woman at the Keyhole should prove to be a valuable text for courses on women and cinema." -- The Independent When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative.
Set in an alternate present that is a slightly, if dangerously, skewed version of our own, Keyhole Factory tracks the interwoven destinies of disparate characters up to and beyond the end of the world-as-we-know-it, brought on by a global super-virus. Beginning with a biting satire of an academic poetry conference, the novel moves on to encompass the stories of a poet-astronaut, a microbiologist contemplating an exit strategy from her high-level job designing biological weapons, a sports-car-driving killer who stages the aesthetic murders of utopian commune-dwellers, and a lone pirate radio disc jockey who may be the last person left alive broadcasting her story to nobody. Allowing form and content to shape each other, William Gillespie pries open the confusion in a moment of total crisis through a narrative web-work technique derived from deranged fiction pioneer Harry Stephen Keeler. Part imaginative free-for-all and part deeply felt examination of isolation and survival, the individual lives in Keyhole Factory shine through the chaos in all their beauty and tragedy. With his signature wit and originality, Gillespie spins a glittering fever-dream that questions our assumptions about the way we interpret events and our relation to the planet, without ever losing sight of the underlying experience of what it feels like to be a human being in the world we live in today.
Aan de hand van correspondentie tussen drie families uit de Nederlandse elite (Huijdecoper, De La Court en Van der Muelen) beschrijft de auteur de kinderleeftijd en de opvoeding van de kinderen in de zeventiende en achttiende eeuw. Met samenvatting in het Nederlands.
Come round to Louis Theroux’s house, where the much-loved documentary-maker finds himself in unexpected danger . . . Louis’s latest TV series about weirdness – the one involving the American far right, home-grown jihadis, and SoundCloud rappers – has been unexpectedly derailed by the onset of a global pandemic. Now he finds himself locked down in a location even more full of pitfalls, surprises and hostile objects of inquiry: his own home. Theroux the Keyhole is the candidly honest and hilarious diary of a man attempting to navigate the perils of work and family life, locked down in Covid World with his wife, two teenagers and a Youtube-addict fiver year-old. Why is his wife so intolerant of his obsession with Joe Wicks’s daily workouts? Can he reinvent himself as a podcast host? Why has the internet gone nuts for his old journalistic compadre Joe Exotic? And will his teenage sons ever see him as anything other than ‘cringe’? This is Louis at his insightful best, as month-by-month he documents his year of unforeseen new challenges - and wonders why it took a pandemic for him to learn that what really matters in life is right in front of him.
What's a witch to do when the meanest man in the county drops dead in his coleslaw during her shift at the local barbecue joint? Noelle does what any good Southern girl would do: she flicks a wrist to clean up the mess, then thanks the stars for doing the world a favor. But that's just the beginning. She has the Magical Oversight Committee on her back because she can't keep her unruly little sister in line and the hunky new city-slicker sheriff would like to take her to dinner, except he suspects her of murder. To top it off, her possessed miniature donkey is being particularly calamitous and the old hens at the local beauty parlor are laying bets on her love life. A skydiving best friend and a bossy, living-impaired aunt become the least of her worries when the killer decides to bump up the plan by bumping her off. Can she figure it out in time to save all that she holds dear, or will Noelle be next on the list of folks who've turned up dead? If you like laugh-out-loud southern wit, magic, and murder, you'll fall in love with this witchy cozy mystery series!