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An award-winning novel of love, betrayal, and Arab Israeli identity by the author of Dancing Arabs—“one of the most important contemporary Hebrew writers” (Haaretz). A successful Arab criminal attorney and a social worker-turned-artist find their lives intersecting under the most curious of circumstances. The lawyer has a thriving practice in Jerusalem, a large house, and a Mercedes. He speaks both Arabic and Hebrew, and lives with his wife and two young children. To maintain his image as a sophisticated Israeli Arab, he makes frequent visits to a local bookstore and picks up popular novels. But on one fateful evening, he decides to buy a used copy of Tolstoy’s The Kreutzer Sonata, a book his wife once recommended. Tucked in its pages, he finds a love letter, in Arabic . . . in his wife’s handwriting. Consumed with suspicion and jealousy, he decides to hunt down the book’s previous owner—a man named Yonatan. But Yonatan’s identity is more complex than the attorney imagined. In the process of dredging up old ghosts and secrets, the lawyer breaks the fragile threads that hold all of their lives together. Winner of the 2011 Bernstein Prize, Second Person Singular is “part comedy of manners, part psychological mystery” (The Boston Globe) that offers “sharp insights on the assumptions made about race, religion, ethnicity, and class that shape Israeli identity” (Publishers Weekly). “[Kashua’s] dry wit shines.” —Los Angeles Times “Kashua’s protagonists struggle, often comically . . . making his narratives more nuanced than some of the other Arabs writing about the conflict” —Newsweek “Sayed Kashua is a brilliant, funny, humane writer who effortlessly overturns any and all preconceptions about the Middle East. God, I love him.” —Gary Shteyngart, author of Super Sad True Love Story
A highly respected Jerusalemite attorney embarks on a jealous search for his wife's ex-lover upon finding a love letter in her handwriting tucked inside a used Tolstoy book.
Emily Harrington offers a new history of women’s poetry at the turn of the century that breaks from conventional ideas of nineteenth-century lyric, which focus on individual subjectivity. She argues that women poets conceived of lyric as an intersubjective genre, one that seeks to establish relations between subjects rather than to constitute a subject in isolation. Moving away from canonical texts that contribute to the commonly held notion that lyric poetry is an utterance made in solitude, Harrington explores the work of Christina Rossetti, Augusta Webster, A. Mary F. Robinson, Alice Meynell, and Dollie Radford to show how nineteenth-century poetic conventions shaped and were shaped by concepts of intimacy. Writing about relationships that are familial, divine, sexual, literary, and musical, these poets reconsidered the dynamics of absence and presence, and subject and object, that are at the heart of the lyric enterprise. Harrington locates these poets' theories of intimacy not only in their formal poetic practice but also in diverse prose works such as prefaces, literary and devotional essays, and unpublished letters and diaries. By analyzing various patterns of versification and modes of address, she articulates new ways of thinking about the bonds of verse and enlarges our understanding of verse culture in the late nineteenth century.
The bestselling workbook and grammar guide, revised and updated! Hailed as one of the best books around for teaching grammar, The Blue Book of Grammar and Punctuation includes easy-to-understand rules, abundant examples, dozens of reproducible quizzes, and pre- and post-tests to help teach grammar to middle and high schoolers, college students, ESL students, homeschoolers, and more. This concise, entertaining workbook makes learning English grammar and usage simple and fun. This updated 12th edition reflects the latest updates to English usage and grammar, and includes answers to all reproducible quizzes to facilitate self-assessment and learning. Clear and concise, with easy-to-follow explanations, offering "just the facts" on English grammar, punctuation, and usage Fully updated to reflect the latest rules, along with even more quizzes and pre- and post-tests to help teach grammar Ideal for students from seventh grade through adulthood in the US and abroad For anyone who wants to understand the major rules and subtle guidelines of English grammar and usage, The Blue Book of Grammar and Punctuation offers comprehensive, straightforward instruction.
The Cambridge Advanced Learner's Dictionary is the ideal dictionary for advanced EFL/ESL learners. Easy to use and with a great CD-ROM - the perfect learner's dictionary for exam success. First published as the Cambridge International Dictionary of English, this new edition has been completely updated and redesigned. - References to over 170,000 words, phrases and examples explained in clear and natural English - All the important new words that have come into the language (e.g. dirty bomb, lairy, 9/11, clickable) - Over 200 'Common Learner Error' notes, based on the Cambridge Learner Corpus from Cambridge ESOL exams Plus, on the CD-ROM: - SMART thesaurus - lets you find all the words with the same meaning - QUICKfind - automatically looks up words while you are working on-screen - SUPERwrite - tools for advanced writing, giving help with grammar and collocation - Hear and practise all the words.
Why should we avoid doing moral wrong? The inability of philosophy to answer this question in a compelling manner—along with the moral skepticism and ethical confusion that ensue—result, Stephen Darwall argues, from our failure to appreciate the essentially interpersonal character of moral obligation. After showing how attempts to vindicate morality have tended to change the subject—falling back on non-moral values or practical, first-person considerations—Darwall elaborates the interpersonal nature of moral obligations: their inherent link to our responsibilities to one another as members of the moral community. As Darwall defines it, the concept of moral obligation has an irreducibly second-person aspect; it presupposes our authority to make claims and demands on one another. And so too do many other central notions, including those of rights, the dignity of and respect for persons, and the very concept of person itself. The result is nothing less than a fundamental reorientation of moral theory that enables it at last to account for morality’s supreme authority—an account that Darwall carries from the realm of theory to the practical world of second-person attitudes, emotions, and actions.
“If you want to know why more people are asking ‘what’s your pronoun?’ then you (singular or plural) should read this book.” —Joe Moran, New York Times Book Review Heralded as “required reading” (Geoff Nunberg) and “the book” (Anne Fadiman) for anyone interested in the conversation swirling around gender-neutral and nonbinary pronouns, What’s Your Pronoun? is a classic in the making. Providing much-needed historical context and analysis to the debate around what we call ourselves, Dennis Baron brings new insight to a centuries-old topic and illuminates how—and why—these pronouns are sparking confusion and prompting new policies in schools, workplaces, and even statehouses. Enlightening and affirming, What’s Your Pronoun? introduces a new way of thinking about language, gender, and how they intersect.
Set against the black backdrop of a ruthless Minnesota winter, KJ Erickson's debut novel is bursting with masterfully plotted suspense and intricately rendered characters. Prickly but gifted Minneapolis Special Detective Marshall "Mars" Bahr is a man whose devotion to his eight-year-old son is eclipsed only by his love of the hunt. Mars hasn't won any popularity contests among his fellow officers, but his commitment to his job and his investigative talents have gotten him a plumb assignment: Special Detective in charge of the First Response Unit, reporting directly to the chief. On a winter morning, when Mars is called to the scene of a homicide near the outskirts of town, his first thought is that a homeless drunk passed out in the wrong place on a freezing cold night. What he finds turns out to be much more menacing, a nightmare case involving a teenage girl from the right side of the tracks. With few clues and increasing pressure from the mayor on down to apprehend the killer, Mars is forced to turn away from the details of the crime on the bluffs and instead focus on the victim herself. Mary Pat Fitzgerald seemed to have a storybook lifestyle, at least from the outside. With a little digging, however, it becomes clear that appearances can be deceiving. Mars and his partner, Nettie Frisch, turn up some provocative clues in the search to uncover the truth about the young woman's lonely death-- but can they trust them? Third Person Singular is a multilayered screamer of a debut that will have readers breathlessly awaiting KJ Erickson's next effort.
The series Studia Linguistica Germanica, founded in 1968 by Ludwig Erich Schmitt and Stefan Sonderegger, is one of the standard publication organs for German Linguistics. The series aims to cover the whole spectrum of the subject, while concentrating on questions relating to language history and the history of linguistic ideas. It includes works on the historical grammar and semantics of German, on the relationship of language and culture, on the history of language theory, on dialectology, on lexicology / lexicography, text linguisticsand on the location of German in the European linguistic context.
NATIONAL BEST SELLER • A mind-bending new collection of short stories from the internationally acclaimed, best-selling author. • “Some novelists hold a mirror up to the world and some, like Haruki Murakami, use the mirror as a portal to a universe hidden beyond it.” —The Wall Street Journal The eight stories in this new book are all told in the first person by a classic Murakami narrator. From memories of youth, meditations on music, and an ardent love of baseball, to dreamlike scenarios and invented jazz albums, together these stories challenge the boundaries between our minds and the exterior world. Occasionally, a narrator may or may not be Murakami himself. Is it memoir or fiction? The reader decides. Philosophical and mysterious, the stories in First Person Singular all touch beautifully on love and solitude, childhood and memory. . . all with a signature Murakami twist.