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For two sisters growing up surrounded by the Civil War, there is conflict both outside and inside their house.
Building on the biblical narrative and on social world analysis, Leeb argues that the terms NA'AR and NA'ARAH refer to persons displaced from the father's house (BET 'AB), usually as a result of debt slavery. Hence, rather than working his father's land, and becoming in turn the head of his own household, the NA'AR, as a domestic or military servant, helps build the household of another. Less frequently, the weakness or absence of the father leads to the same, or a similar, predicament. Any woman venturing from her own household is also likely to acquire the status of a NA'ARAH. This is a novel and challenging study in ancient Israelite social structure.
It had not been a conscious decision to cling to the better memories of his childhood. It had just happened when Hannah came along and the possibility of a brighter future dragged his scowling face away from the details of his past. Now, standing in the middle of the poorly part-mowed field, in front of the house that was hiding all the reasons he had run away, he wondered if it would be possible to hold the past and present in tension.' Robbie Hanright has a normal, settled life in Dublin. With a wife and baby, an undemanding job and a nice home, everything is just as he wants it. However, after an enduring estrangement from the rural landscape of his youth, Robbie receives a phone call from his sister asking him to come home. Left with little choice, Robbie returns once more to County Down, and to Larkscroft Farm, to confront the father who tormented his childhood and face up to a history he wants only to forget. Set against the backdrop of a decaying farmhouse and fragile family connections, My Father's House is a powerful, lyrical story of loss and regret, through which Bethany Dawson reveals an affecting compassion for the profound, and often painful, complexities of family life.
Filled with practical ideas and self-evaluation tools, Father Hunger both encourages and challenges men to "embrace the high calling of fatherhood," becoming the dads that their families and our culture so desperately need them to be.
Here is an intimate look at the human side of one of our generation's most authentic Christians; how her faith kept her going for years to prepare for the suffering and victories ahead.
The beating of Rodney King and the resulting riots in South Central Los Angeles. The violent clash between Hasidim and African-Americans in Crown Heights. The boats of Haitian refugees being turned away from the Land of Opportunity. These are among the many racially-charged images that have burst across our television screens in the last year alone, images that show that for all our complacent beliefs in a melting-pot society, race is as much of a problem as ever in America. In this vastly important, widely-acclaimed volume, Kwame Anthony Appiah, a Ghanaian philosopher who now teaches at Harvard, explores, in his words, "the possibilities and pitfalls of an African identity in the late twentieth century." In the process he sheds new light on what it means to be an African-American, on the many preconceptions that have muddled discussions of race, Africa, and Afrocentrism since the end of the nineteenth century, and, in the end, to move beyond the idea of race. In My Father's House is especially wide-ranging, covering everything from Pan Africanism, to the works of early African-American intellectuals such as Alexander Crummell and W.E.B. Du Bois, to the ways in which African identity influences African literature. In his discussion of the latter subject, Appiah demonstrates how attempts to construct a uniquely African literature have ignored not only the inescapable influences that centuries of contact with the West have imposed, but also the multicultural nature of Africa itself. Emphasizing this last point is Appiah's eloquent title essay which offers a fitting finale to the volume. In a moving first-person account of his father's death and funeral in Ghana, Appiah offers a brilliant metaphor for the tension between Africa's aspirations to modernity and its desire to draw on its ancient cultural roots. During the Los Angeles riots, Rodney King appeared on television to make his now famous plea: "People, can we all get along?" In this beautiful, elegantly written volume, Appiah steers us along a path toward answering a question of the utmost importance to us all.
From the bestselling author of THE ZION COVENANT and THE ZION CHRONICLES series!.
Donald and Lillian were never a match made in heaven, but they have a child, Tina, and she is the love of Donald's heart. For her he would give up everything: his home, his work and even his freedom. When his marriage fails, he does just that. A chance meeting with a stranger on a train changes his life - and his daughter's - in ways he could never have imagined. From her earliest years Tina is exceptional, a brilliant student and a joyous person with a loving spirit. At university she falls in love with Gilbert who, three years older than she, graduates from law school just as she is about to enter medical school. Together they go to New York, where they learn a truth about Donald that shatters Tina's regard for the father who has for so long protected and cherished her. When a terrible lie has been told for love, can it be forgiven?
A historian's personal journey into the complex questions of immigration, home and nation From Ireland to London in the 1950s, Derry in the Troubles to contemporary, de-industrialised Manchester, Joyce finds the ties of place, family and the past are difficult to break. Why do certain places continue to haunt us? What does it mean to be British after the suffering of Empire and of war? How do we make our home in a hypermobile world without remembering our pasts? Patrick Joyce's parents moved from Ireland in the 1930s and made their home in west London. But they never really left the homeland. And so as he grew up among the streets of Paddington and Notting Hill and when he visited his family in Ireland he felt a tension between the notions of home, nation and belonging. Going to My Father's House charts the historian's attempt to make sense of these ties and to see how they manifest in a globalised world. He explores the places - the house, the street, the walls and the graves - that formed his own identity. He ask what place the ideas of history, heritage and nostalgia have in creating a sense of our selves. He concludes with a plea for a history that holds the past to account but also allows for dynamic, inclusive change.