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Vic Brown is attracted to the beautiful but demanding Ingrid. As their relationship grows and changes he comes to terms - the hard way - with adult life and what it really means to love. Set in the 1960s, the novel raises issues against a clearly-evoked social and historical context.
One of the most common—and wounding—misconceptions about literary scholars today is that they simply don’t love books. While those actually working in literary studies can easily refute this claim, such a response risks obscuring a more fundamental question: why should they? That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have played a vital role in the formation of private life—that the love of literature, in other words, is deeply embedded in the history of literature. Yet at the same time, our love is neither self-evident nor ahistorical: our views of books as objects of affection have clear roots in eighteenth- and nineteenth-century publishing, reading habits, and domestic history. While never denying the very real feelings that warm our relationship to books, Loving Literature nonetheless serves as a riposte to those who use the phrase “the love of literature” as if its meaning were transparent. Lynch writes, “It is as if those on the side of love of literature had forgotten what literary texts themselves say about love’s edginess and complexities.” With this masterly volume, Lynch restores those edges and allows us to revel in those complexities.
Drama unfolds between the servants and masters of an aristocratic Irish household in this “classic upstairs-downstairs story” set during World War II—for fans of Downton Abbey (Time) The war has led to a scarcity of experienced staff at the vast hereditary house of an aristocratic Anglo-Irish family. When Eldon the butler dies, Raunce—the head footman—is assigned his job. The other servants are taken aback by this irregular promotion, but lovely young Edith, a recent hire, is quite attracted to the older Raunce and a flirtation begins. And it is Edith who discovers Mrs. Tennant’s daughter-in-law, whose husband is fighting at the front, in bed with a neighbor one morning, scandalizing the whole household. When the Tennants depart for England, Raunce is left in charge of the house and struggles to control its disputatious inhabitants as well as to secure the love of Edith, especially after a precious family jewel disappears. In Loving, Henry Green explores the deeply precarious nature of ordinary life against the background of the larger world at war.
Analyzes the feelings and problems involved in different types of human love, including familial affection, friendship, passion, and charity.
If God is all powerful and entirely good and loving, why is there so much evil in the world? Based on a close canonical reading of Scripture, this book offers a new approach to the challenge of reconciling the Christian confession of a loving God with the realities of suffering and evil. John Peckham offers a constructive proposal for a theodicy of love that upholds both the sovereignty of God and human freedom, showing that Scripture points toward a framework for thinking about God's love in relation to the world.
From the author of the #1 New York Times bestseller On Bullshit, a profound meditation on how and why we love In The Reasons of Love, leading moral philosopher and bestselling author Harry Frankfurt argues that the key to a fulfilled life is to pursue wholeheartedly what one cares about, that love is the most authoritative form of caring, and that the purest form of love is, in a complicated way, self-love. Through caring, we infuse the world with meaning. Caring provides us with stable ambitions and concerns, and it shapes the framework of aims and interests within which we lead our lives. Love is a nonvoluntary, disinterested concern for the flourishing of what we love—and self-love, as distinct from self-indulgence, is at heart of this concern. The most elementary form of self-love is no more than the desire to love, and self-love is simply a commitment to finding meaning in our lives.
~Lambda Literary Award finalist for the best LGBT YA novel of 2018~ A fresh, charming rom-com perfect for fans of Simon vs. the Homo Sapiens Agenda and Boy Meets Boy about Nathan Bird, who has sworn off happy endings but is sorely tested when his former best friend, Ollie, moves back to town. Nathan Bird doesn’t believe in happy endings. Although he’s the ultimate film buff and an aspiring screenwriter, Nate’s seen the demise of too many relationships to believe that happy endings exist in real life. Playing it safe to avoid a broken heart has been his MO ever since his father died and left his mom to unravel—but this strategy is not without fault. His best-friend-turned-girlfriend-turned-best-friend-again, Florence, is set on making sure Nate finds someone else. And in a twist that is rom-com-worthy, someone does come along: Oliver James Hernández, his childhood best friend. After a painful mix-up when they were little, Nate finally has the chance to tell Ollie the truth about his feelings. But can Nate find the courage to pursue his own happily ever after?
Fiction. Short Stories. Women's Studies. Following her acclaimed novels Clown Girl and The Stud Book, Monica Drake presents her long-awaited first collection of stories. THE FOLLY OF LOVING LIFE features linked stories examining an array of characters at their most vulnerable and human, often escaping to somewhere or trying to find stability in their own place. These stories display the best of what we love about Monica's writing the sly laugh-out-loud humor, the sharp observations, the flawed but strong characters, and the shadowy Van Sant-ish Portland settings. "What can I say about Monica Drake's stories? They are brilliant, sure. They are hilarious, yes. Each one is a marvel. But more importantly-they are raw and awake and full of life. At the center of each one is the bright beating heart of what literature can be: Relevant, unusual, entertaining, fascinating, unique. These are not characters-and Drake's is not a voice-that you can ignore or forget."—Pauls Toutonghi"