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Damico’s debut novel is groovy prose through the mind of an overachieving perfectionist on her journey to inner peace. A quirky collection of memories, observations, and life’s aha moments; this book is about a woman speaking her truth while giving a nod to her wacky Italian heritage. From growing up in the freedom of the hippie era into the turbulent present day, the wonder she experiences will inspire and amuse the reader. It carries a heavy dose of sarcasm sprinkled with pets, pot, and politics and pairs well with any bottle of vino.
A Multitude of Women looks at the ways in which both Italian literary tradition and external influences have assisted Italian women writers in rethinking the theoretical and aesthetic ties between author, text, and readership in the construction of the novel. Stefania Lucamante discusses the valuable contributions that Italian women writers have made to the contemporary novel and illustrates the relevance of the novelistic examples set by their predecessors. She addresses various discursive communities, reading works by Di Lascia, Ferrante, Vinci, and others with reference to intertextuality and the theories of Elsa Morante and Simone de Beauvoir. This study identifies a positive deviation from literary and ideological orthodoxy, a deviation that helps give meaning to the Italian novel and to transform the traditional notion of the canon in Italian literature. Lucamante argues that this is partly due to the merits of women writers and their ability to eschew obsolete patterns in narrative while favouring forms that are more attuned to the ever-changing needs of society. She shows that contemporary novels by women authors mirror a shift from previous trends in which the need for female emancipation interfered with the actual literary and aesthetic significance of the novel. A Multitude of Women offers a new epistemology of the novel and will appeal to those interested in women's writing, readership, Italian studies, and literary studies in general.
Craft Compelling Dialogue When should your character talk, what should (or shouldn't) he say, and when should he say it? How do you know when dialogue--or the lack thereof--is dragging down your scene? How do you fix a character who speaks without the laconic wit of the Terminator? Write Great Fiction: Dialogue by successful author and instructor Gloria Kempton has the answers to all of these questions and more! It's packed with innovative exercises and instruction designed to teach you how to: • Create dialogue that drives the story • Weave dialogue with narrative and action • Write dialogue that fits specific genres • Avoid the common pitfalls of writing dialogue • Make dialogue unique for each character Along with dozens of dialogue excerpts from today's most popular writers, Write Great Fiction: Dialogue gives you the edge you need to make your story stand out from the rest.
Four old friends confront their darkest secrets in this fantasy steeped in nostalgia, folklore, religion, and the seductive landscape of Southern Italy—by the Italian Neil Gaiman. “A tale of adventure, mystery, friendship and heart-wrenching beauty that will make you re-examine what is holy, what is true, and what is beyond the realm of possibility.” —BookPage Four old school friends have a pact: to meet up every year in the small town in Puglia they grew up in. Art, the charismatic leader of the group and creator of the pact, insists that the agreement must remain unshakable and enduring. But this year, he never shows up. A visit to his house increases the friends’ worry: Art is farming marijuana. In Southern Italy doing that kind of thing can be very dangerous. They can’t go to the Carabinieri so must make enquiries of their own. This is how they come across the rumors about Art—bizarre and unbelievable rumors that he miraculously cured the local mafia boss’ daughter of terminal leukemia. And among the chaos of his house, they find a document written by Art, “The Book of Hidden Things”, that promises to reveal dark secrets and wonders beyond anything previously known. Set in the beguiling and seductive world of Southern Italy, Francesco Dimitri’s first novel in English is a story friendship, landscape, love, betrayal, and mystery that will entrance fans of Elena Ferrante, Neil Gaiman, and Donna Tartt.
Some say Demiel ben Yusef is the world's most dangerous terrorist, personally responsible for bombings and riots that have claimed the lives of thousands. Others insist he is a man of peace, a miracle worker, and possibly even the Son of God. His trial in New York City for crimes against humanity attracts scores of protestors, as well as media and religious leaders from around the world. Cynical reporter Alessandra Russo heads to the UN hoping for a piece of the action, but soon becomes entangled in controversy and suspicion when ben Yusef singles her out for attention among all other reporters. As Alessandra begins digging into ben Yusef's past, she is already in more danger than she knows—and when she is falsely accused of murder during her investigation, she is forced to flee New York. On the run from unknown enemies, Alessandra finds herself on the trail of a global conspiracy and a story that could shake the world to its foundations. Is Demiel ben Yusef the Second Coming or the Antichrist? The truth may lie in the secret history of the Holy Family, a group of Templars who defied the church, and a mysterious relic stained with the sacred blood of Christ Himself. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
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“Lucht’s engaging prose style and keen ethnographic eye provide for a captivating narrative on a form of population movement often in the news but rarely if ever really understood.” --Jeffrey E. Cole, author with Sally Booth of Dirty Work: Immigrants in Domestic Service, Agriculture, and Prostitution in Sicily. “Few ethnographers manage to integrate in-depth multi-sited fieldwork, enthralling narrative and innovative theory as well as Hans Lucht does in this study of existential reciprocity among Ghanaian fishermen forced by dwindling catches to embark on hazardous migrations to Europe in search of the wherewithall of life. In Lucht's capable hands, these stories become an allegory of our times.” --Michael Jackson, author of Life Within Limits: Well-Being in a World of Want. "An original, comprehensive, and skilled study, Darkness before Daybreak provides the reader with a real sense of the quality and meaning of existence in Ghana and in Naples, while providing enough historical and political/economic context to permit a nuanced critical analysis of globalization theory." --Peter Schneider, Professor Emeritus of Sociology and Anthropology, Fordham University, and author with Jane Schneider of Reversible Destiny: Mafia, Antimafia, and the Struggle for Palermo.
This volume of Twentieth-Century Italian Drama covers the period spanning from the end of the nineteenth century to that immediately following World War II, displaying the rich breadth of Italian theater in the modern age, from the comedic legacy carried on by such writers as Eduardo De Filippo to the delicate tragedy of playwrights like Federigo Tozzi.Included are seven full-length plays, five one-act plays, one variety sketch, and three futurist sintesi (sketches). Brief introductions preceding each play contextualize the piece within the various movements in Italian theater, and biographies of the editors and translators appear at the end of the volume. An extensive bibliography offers many suggestions for further reading in English.The playwrights included are Gabriele D'Annunzio, Filippo Tommaso Marinetti, Ettore Petrolini, Raffaele Viviani, Pier Maria Rosso di San Secondo, Federigo Tozzi, Massimo Bontempelli, Achille Campanile, Italo Svevo, Luigi Pirandello, Eduardo De Filippo, and Ugo Betti.
A study of surprising similarities in their lives and works “adds an important element to the existing discussion” of two twentieth-century literary icons (Studies in American Humor). In this original comparative study of Kurt Vonnegut and Ernest Hemingway, Lawrence R. Broer maps the striking intersections of biography and artistry in works by both writers, and compares the ways they blend life and art. Broer views Hemingway as the “secret sharer” of Vonnegut’s literary imagination and argues that the two writers—traditionally considered as adversaries because of Vonnegut’s rejection of Hemingway’s emblematic hypermasculinism—inevitably address similar deterministic wounds in their fiction: childhood traumas, family insanity, deforming wartime experiences, and depression. Rooting his discussion in these psychological commonalities, Broer traces their personal and artistic paths by pairing sets of works and protagonists in ways that show the two writers not only addressing similar concerns, but developing a response that in the end establishes an underlying kinship when it comes to the fate of the American hero of the twentieth century. Hemingway provided frequent fodder for Vonnegut, inspiring a cadre of characters who celebrate war and death. In his sardonic response to this vision of a Hemingwayesque world, Vonnegut espoused kindness and restraint as moral imperatives against the more violent yearnings of human nature, which Hemingway in turn embraced as stoic, virile, and heroic. Though their paths were radically different, Broer finds in both an overarching obsession with the scars of war as chief adversary in a personal quest for understanding and wholeness. He locates in each writer’s canon moments of spiritual awaking leading to literary evolution—if not outright reinvention. In their later works Broer detects an increasing recognition of redemptive feminine aspects in themselves and their protagonists, pulling against the destructively tragic fatalism that otherwise dominates their worldviews. Broer sees Vonnegut and Hemingway as fundamentally at war—with themselves, with one another’s artistic visions, and with the idea of war itself. Against this onslaught, he asserts, they wrote as a mode of therapy and achieved literary greatness through combative opposition to the shadows that loomed so large around them.