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Winner of the PEN/Voelcker career achievement award in poetry Misgivings is C. K. William's searing recollection of his family's extreme dynamics and of his parents' deaths after years of struggle, bitterness, inner conflict, and, finally, love. Like Kafka's self-revealing Letter to His Father, Misgivings is a full of doubt, both philosophical and personal, but as a work of art it is sure and true. Williams's father was an "ordinary businessman"--angry, demanding, addicted to the tension he created with the people he loved; a man who could recite the Greek myths to his son yet vowed never to apologize to anybody. Wiiiams's mother was a housewife, a woman with a great capacity for pleasure, who was stoical about the family's dire early poverty yet remained affected by it even when they became well-off. Together, these two formed what Williams calls the "conspiracy that made me who I am." His account of their life together and of their deaths--his father's in a final abandonment of the will to live, his mother's with calm resignation--is a literary form of the reconciliation the family achieved at the end of his parents' lives, composed as a series of short takes, a double helix of experience and recollection.
An intense, refractory memoir by a major poet Misgivings is C. K. Williams's searing recollection of his family's extreme dynamics and of his parents' deaths after years of struggle, bitterness, and inner conflict. Like Kafka's self-revealing Letter to His Father, Misgivings is full of doubt, both philosophical and personal, but as a work of art it is sure and true. Williams's father was an "ordinary businessman"--angry, demanding, addicted to the tension he created with the people he loved; a man who could read the Greek myths aloud to his son yet vowed never to apologize to anybody. His mother was a housewife, a woman with a great capacity for pleasure, who was stoical about the family's dire early poverty yet remained affected by it even when they became well-off. Together, these two formed what Williams calls the "conspiracy that made me who I am." His account of their life together and their deaths--his father's with suicidal despair, and his mother's with calm resignation--is a literary form of the reconciliation the family achieved at the end of his parents' lives. And as literary form it is novel, a series of brilliant short takes, a double helix of experience and recollection. Few contemporary writers have understood their origins so acutely, or so eloquently.
They thought they were safe in their elite little world. They couldn't have been more wrong. When Charity Daniels was seventeen she fell in love with Literature, and a man who taught it. Their forbidden love was held back until graduation, until legally she could be his. Flash forward three years, Charity is studying at Yale and still in love with her Princeton Man. Quinn (Q) Everett is on scholarship at Yale, and finds himself inexplicably in Charity's path. He tries to stay away, but his mouthy best friend thinks he knows better. Suddenly it's lunches and crashing private plans for the duo just to see her. But their flirtations do not go unseen, and Logan's love turns and goes from jealousy to murderous intent. Can these unproven lovers stay the course and avoid the devious plot of a scorn man or will everything crash and burn?
How does one talk about love? Is it even possible to describe something at once utterly mundane and wholly transcendent, that has the power to consume our lives completely, while making us feel part of something infinitely larger than ourselves? Taking a unique approach to this age-old problem, the nameless narrator of David Levithan's The Lover's Dictionary constructs the story of a relationship as a dictionary. Through these sharp entries, he provides an intimate window into the great events and quotidian trifles of coupledom, giving us an indelible and deeply moving portrait of love in our time.
This book shows the impact of American economic and societal models on French public opinion.
"Books for New Testament study ... [By] Clyde Weber Votaw" v. 26, p. 271-320; v. 37, p. 289-352.
Faith Taylor has a secret. Several, actually: One, she's been in love with her sister's husband, Myles Wellington, for years. Two, she's having his baby. Three, he doesn't know it. Myles is consumed with grief, having lost his wife to a terminal illness. Then he discovers that his late wife convinced her sister to be a surrogate to their baby. Torn between fury and gratitude, Myles insists that Faith move in so they can raise the child together, and unknowingly gets too close to Faith's biggest secret of all... until an even bigger secret threatens a loss neither ever imagined. Previously titled: Behind Closed Doors SHADES OF DECEPTION, in series order Just a Little Lie Just a Little Taboo Just a Little Misgiving Just a Little Sin OTHER TITLES by Mallory Rush Outlaws and Heroes, a three book series Bad Boy of New Orleans Hurts So Good Between the Sheets Half-Moon Hearts Kissed by the Beast
e-artnow presents to you the collection of the great love stories of the past, the best historical novels in one edition:_x000D_ Uarda: A Romance of Ancient Egypt (Georg Ebers)_x000D_ The New Abelard: Love in the Times of Cathedrals (Robert Williams Buchanan)_x000D_ Hildebrand: The Days of Queen Elizabeth (Anonymous) _x000D_ Love-at-Arms (Rafael Sabatini) _x000D_ The Making Of A Saint (W. Somerset Maugham) _x000D_ The Cloister and the Hearth (Charles Reade) _x000D_ The Princess of Cleves (Madame de La Fayette)_x000D_ The Forest Lovers (Maurice Hewlett) _x000D_ Malcolm (George MacDonald) _x000D_ Scarlet Letter: Love in the Colonial Period (Nathaniel Hawthorne) _x000D_ The Wild Irish Girl (Lady Sydney Morgan) _x000D_ Sophia (Stanley John Weyman) _x000D_ Paul and Virginia (Bernardin de Saint-Pierre) _x000D_ Memoirs of Emma Courtney (Mary Hays) _x000D_ Powder and Patch (Georgette Heyer)_x000D_ The Black Moth: A Romance of the XVIIIth Century (Georgette Heyer)_x000D_ The History of Miss Betsy Thoughtless (Eliza Haywood)_x000D_ Fantomina (Eliza Haywood)_x000D_ Olinda's Adventures (Catharine Trotter Cockburn)_x000D_ Belinda (Maria Edgeworth)_x000D_ Dangerous Liaisons (Pierre Choderlos de Laclos)_x000D_ Evelina (Fanny Burney)_x000D_ Pamela Trilogy_x000D_ Mary (Mary Wollstonecraft)_x000D_ Jane Austen:_x000D_ Pride & Prejudice_x000D_ Sense & Sensibility_x000D_ Mansfield Park_x000D_ Emma_x000D_ Persuasion_x000D_ Miss Marjoribanks & Phoebe, Junior (Mrs. Olifant)_x000D_ Vanity Fair (Thackeray)_x000D_ Mr. Rowl (D. K. Broster)_x000D_ The Battle of the Strong (Gilbert Parker)_x000D_ Kitty Alone (Sabine Baring-Gould) _x000D_ Sentimental Education (Gustave Flaubert) _x000D_ Lady Anna (Anthony Trollope)_x000D_ The Manoeuvring Mother (Lady Charlotte Bury)_x000D_ Ramona (Helen Hunt Jackson) _x000D_ Jane Eyre (Charlotte Brontë)_x000D_ Wuthering Heights (Emily Brontë)_x000D_ The Tenant of Wildfell Hall (Anne Brontë)_x000D_ The Lady of the Camellias (Alexandre Dumas)_x000D_ The Portrait of a Lady & The Wings of the Dove (Henry James)_x000D_ Anna Karenina (Leo Tolstoy)_x000D_ The Age of Innocence (Edith Wharton)_x000D_ Tess of the d'Urbervilles (Thomas Hardy)_x000D_ Bel Ami (Guy de Maupassant) _x000D_ The Squatter and the Don (María Ruiz de Burton) _x000D_ Maria Chapdelaine (Louis Hémon)_x000D_ The Four Feathers (A. E. W. Mason) _x000D_ The Miranda Trilogy (Grace Livingston Hill)_x000D_ The Great Gatsby (F. Scott Fitzgerald)