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In 1921 a Pennsylvania preacher hauled his four teen-agers from a prosperous Pennsylvania farm to a bleak and arid spot on the Saskatchewan prairie. The young people had to cope with unexpected economic devastation, October blizzards, the mental illness of their mother, and the inability of their aloof and inept father to attend to anything other than leading a tiny fellowship of Pietist-Anabaptists. This book tells the story of the foursome's enduring mutual support as each struggled to survive emotionally and materially, and tried to retain fragments of the culture they had absorbed in Gettysburg. One of the four, the father of this book's author, decided at the age of thirty to begin an education so he could become a minister. His siblings supported his journey though adult high school, college, and seminary, but Albert Hollinger, Jr., found the urban society of the early 1950s alien. Unable to function in it as a minister, he became a house-painter. Always haunted by his failure to achieve voice, he took comfort from a poem prophesying confident speech in afterlife, "When this mask of flesh is broken." He and his siblings were all determined to be childless for fear of mental illness, but there was one by accident. This book's author eventually learned that he was the result of an unintended pregnancy. All four came together again in their last decades, living near one another in the church-intensive town in Southern California where the author's father had attended college in the 1930s.
Working at the local processing plant, Marcos is in the business of slaughtering humans—though no one calls them that anymore. His wife has left him, his father is sinking into dementia, and Marcos tries not to think too hard about how he makes a living. After all, it happened so quickly. First, it was reported that an infectious virus has made all animal meat poisonous to humans. Then governments initiated the “Transition.” Now, eating human meat—“special meat”—is legal. Marcos tries to stick to numbers, consignments, processing. Then one day he’s given a gift: a live specimen of the finest quality. Though he’s aware that any form of personal contact is forbidden on pain of death, little by little he starts to treat her like a human being. And soon, he becomes tortured by what has been lost—and what might still be saved.
But she perseveres, staying by Sam's side, until he moves first a finger, then a foot, and finally starts to rebuild his life."--BOOK JACKET.
Habeas Viscus focuses attention on the centrality of race to notions of the human. Alexander G. Weheliye develops a theory of "racializing assemblages," taking race as a set of sociopolitical processes that discipline humanity into full humans, not-quite-humans, and nonhumans. This disciplining, while not biological per se, frequently depends on anchoring political hierarchies in human flesh. The work of the black feminist scholars Hortense Spillers and Sylvia Wynter is vital to Weheliye's argument. Particularly significant are their contributions to the intellectual project of black studies vis-à-vis racialization and the category of the human in western modernity. Wynter and Spillers configure black studies as an endeavor to disrupt the governing conception of humanity as synonymous with white, western man. Weheliye posits black feminist theories of modern humanity as useful correctives to the "bare life and biopolitics discourse" exemplified by the works of Giorgio Agamben and Michel Foucault, which, Weheliye contends, vastly underestimate the conceptual and political significance of race in constructions of the human. Habeas Viscus reveals the pressing need to make the insights of black studies and black feminism foundational to the study of modern humanity.
The gods and goddesses are dead, killed two hundred years ago. With their destruction the moon split apart, the sun dwindled and the land was devastated. Civilisation has re-emerged from the carnage, but twisted creatures still prowl the savage Wildlands between the city-states. In the skies above the city of Vasini, a falling star, a fragment of the dead moon goddess Serindra, heads to earth. In the Palace district, Dame Vittoria Emerson, darling of the city, has been found dead, lying amongst her own vomit. As Captain Marcus Fox of the Inspectorate hunts the killer, Dr. Elizabeth Reid searches for the remnants of Serindra determined to make sure the poisonous quicksilver it contains is not used. With Vittoria's death threatening to draw the city's political elite into a war of assassins, Fox and Reid must rush to expose the secrets that lie within Vasini before they tear the city-state apart. The Silver Mask is the opening part of The Vasini Chronicles, a series of flintlock-and-alchemy fantasy novels set in the city-state of Vasini.
In post-Franco Spain, a re-shaping of notions of the masculine has been under way for some time. The authors of "Live Flesh" demonstrate how contemporary Spanish films, during this modern period, have contributed to this process. They do so by visualizing the ways in which Spanish men have been abandoning old self images and adopting new ones, and they explain and explore the complexity and diversity of these fresh cinematic creations of masculine identities. The book's point of focus is Spanish films of the democratic period, both popular and auteur, made by directors of national and international prominence, such as Pedro Almodovar, Alejandro Amenabar, Bigas Luna or Julio Medem, as well as films featuring acclaimed actors who have contributed to the construction of contemporary ideas of the masculine in their country, including Antonio Banderas and Javier Bardem. Using a fresh theoretical framework, embracing queer and feminist theory and concepts of nation, race and class, each chapter examines key films that represent the male body, highlighting notable elements - young, muscular, homosexual, (dis)abled, foreign and so on - and goes on to focus on recent case studies from the early 1990s to the present. An increasingly transnational Spanish cinema is a most promising field in which to explore questions of how male bodies are represented - and mediated - in film. "Live Flesh" more than fulfils this promise and goes further, to reveal how these representations have intervened in the Spanish cultural imagination.
BOOKER PRIZE WINNER • NATIONAL BESTSELLER • A novel that follows a middle-aged man as he contends with a past he never much thought about—until his closest childhood friends return with a vengeance: one of them from the grave, another maddeningly present. A novel so compelling that it begs to be read in a single setting, The Sense of an Ending has the psychological and emotional depth and sophistication of Henry James at his best, and is a stunning achievement in Julian Barnes's oeuvre. Tony Webster thought he left his past behind as he built a life for himself, and his career has provided him with a secure retirement and an amicable relationship with his ex-wife and daughter, who now has a family of her own. But when he is presented with a mysterious legacy, he is forced to revise his estimation of his own nature and place in the world.
Bestselling author Tanya Huff presents an all-new world of action and intrigue, where survivors of a disastrous war have outlawed all magic in favor of shared knowledge—but all is not as it seems. Ryan Marsan was never meant to be Heir to the Lord Protector. But his brothers are dead, and for the first time in decades, the Black Flame that protects his people is flickering. Ryan must retrieve its fuel from the mage-destroyed wastes of the Broken Lands, leading Scholars with more knowledge, warriors with more experience, and an ambitious cousin with the morals of a cat. His authority rests with the weapon. The only mage-crafted artifice to survive the wars, it responds to the command of the heirs of Marsanport. While its capabilities are mysterious, its brutality is legend. Except Ryan soon discovers some mysteries are really omissions. The weapon is more than it appears and the Broken Lands will reveal secrets, lies, and the horrors of twisted sorcery. Even his companions hide more than he knows. With Marsanport’s future at risk, Ryan can only race forward, hoping to survive, keep his friends alive—and see truth where it is, not where he wants it to be...
The articles collected and reprinted here appeared originally in the pages of Hesperia. "Two Centuries of Hellenistic Pottery," by Homer A. Thompson, presented in 1934 some of the pottery found in the early excavations of the American School in the Athenian Agora. The series titled "Three Centuries of Hellenistic Terracottas," by Dorothy B. Thompson, includes ten articles that were published between 1952 and 1966. The working chronology that the authors established has made these studies basic references for investigations of Attic pottery and terracottas of the Hellenistic period, wherever found. In recognition of subsequent discoveries, the Thompsons' work has now been augmented by a preface with bibliography for each, prepared by Susan I. Rotroff, which comments particularly on the changes in chronology resulting from the continuing excavations in the Agora and elsewhere. In "Afterthoughts" Dorothy Thompson has made new observations concerning certain terracottas.
The original romantic comedy with zombies, following an unusual gentleman by the name of Asmodeus Dusk, and his efforts to survive as the world succumbs to apocalypse. His journey leads him across much of Colorado, through multiple locations in and around the Rocky Mountains, and to a hidden military research base coined YESRAD near Mayday. Amid the stench of mobile corpses, he finds love gazing at him from behind the barrel of a .357 Magnum Is she more than meets the eye? How long will civility hold true? Are there unseen forces at work? What answers, if any, could YESRAD have?