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Through the use of nuanced observation, rich language, and original voice, Elline Lipkin explores contemporary womanhood, the concerns of travel, cross-cultural themes and family legacy. Emulating the feminist themes of Adrienne Rich, the steely resolve of Sylvia Plath, and the feeling for loss and spliced cultural heritage that Eavan Boland expresses, this work serves as the next link in a lineage of women poets. In poems such as "Response to Miss Havisham" and "Ars Poetica With Lines by Dickinson" the poet responds to her foremothers within the world of literature. Yet in poems such as "Rara Avis" and "At the Corner of Sunset and Morningside" she places herself uniquely within her own landscape, at her own desk, and in her own voice. Other poems such as "My Parents Meet at La Grande Place," or "My Grandfather's Last Bird" connect language and family as a fractured heritage, one that has allowed for a split of words, a splice of vows, as the poet writes in "Sweet Asylum" and one that has led to this original and accomplished new book.
The Havath Dominion is marching to war. Humiliated in the ruins of Imperial Ithos, the Exile Splinter stolen from their grasp by the ancient sphinx Kanderon Crux, Havath's Duarchs have assembled an army that dwarfs the entire population of Skyhold. Led by their Great Powers, monsters and mages individually capable of leveling a city, they pose a threat that even Kanderon, one of the mightiest of Great Powers, and her equally monstrous allies might be unable to stop. As the Havathi forces push closer and closer to Skyhold, Hugh and his friends train relentlessly, hoping to make a difference in the oncoming siege. While they venture into dangerous realms of untested experimental magic, though, they're already caught up in currents far beyond their control. Once you're a pawn in the games of the Great Powers, there's no escape.
Half a millennium ago, the sphinx Kanderon Crux and her allies banished the city of Imperial Ithos from the world of Anastis, in a desperate attempt to defeat the Ithonian Empire. Her dread weapon, the Exile Splinter, even erased the memory of its location from the universe. Now it's returning, bringing the Exile Splinter back with it. The great powers of the continent are desperately hunting for the site of the lost city, knowledge lost even to Kanderon herself. None know what ancient Ithonian weapons and enchantments might still be found in the ruins, but even the Exile Splinter alone would be a prize justifying war. Hugh and his friends find themselves dragged along on the search, where they'll face enemy warlocks, sea monsters, liches, unnatural storms, and even a man-eating tiger. There's something they're not being told about the lost city, however. Something that has even Kanderon and the other great powers terrified.
The Main is Montreal’s teeming underworld, where the dark streets echo with cries in a dozen languages, with the quick footsteps of thieves and the whispers of prostitutes. It is a world where violence and brutality are a way of life. To the people of the Main, police lieutenant Claude LaPointe is judge and jury, father confessor and avenging angel. Montreal’s police force has changed over time, but LaPointe has not. His commitment to justice is total, as is his devotion to the Main and its underworld community. But when a cold-blooded murderer invades LaPointe’s territory, he is forced to examine his long-held beliefs and secrets and to confront his own loneliness and mortality. With a cast of unforgettable supporting characters and an unusual and remarkable hero, The Main is another gripping tale of death and danger, of action and mystery, by the incomparable Trevanian. Look for these other Trevanian classics from Three Rivers Press: The Eiger Sanction, The Loo Sanction, Shibumi, and The Summer of Katya. From the Trade Paperback edition.
“To write a series of poems out of extreme illness is a bracing accomplishment indeed. In Deluge... Leila Chatti, born of a Catholic mother and a Muslim father, brilliantly explores the trauma." —Naomi Shihab Nye, The New York Times In her early twenties, Leila Chatti started bleeding and did not stop. Physicians referred to this bleeding as flooding. In the Qur’an, as in the Bible, the Flood was sent as punishment. The idea of disease as punishment drives this collection’s themes of shame, illness, grief, and gender, transmuting religious narratives through the lens of a young Arab-American woman suffering a taboo female affliction. Deluge investigates the childhood roots of faith and desire alongside their present day enactments. Chatti’s remarkably direct voice makes use of innovative poetic form to gaze unflinchingly at what she was taught to keep hidden. This powerful piece of life-writing depicts Chatti’s journey from diagnosis to surgery and remission in meticulous chronology that binds body to spirit and advocates for the salvation of both. Chatti blends personal narrative, religious imagery, and medical terminology in a chronicle of illness, womanhood, and faith.
As a work of musical theory, or meta-theory, Music's Making draws extensively on work done in philosophy and literary criticism in addition to the scholarship of musicologists and music theorists. Music's Making is divided into two large parts. The first half develops global attitudes toward music: emergence out of self and hearing through (drawing on Kabbalah and other sources), middle-voice (as discussed in philosophical phenomenology), liminal space (as discussed in literary theory), an ethics of intersubjectivity (drawing on Levinas), and character, canon, and metaleptic transformations (drawing chiefly on Harold Bloom). The second half embodies a search for metaphors, figurative language toward understanding music's endlessly variegated shaping of time-space. The musicians and scholars who inform this part of the book include Pierre Boulez, Gilles Deleuze, Anton Webern, Morton Feldman, and James Dillon. The book closes with an extended inquiry into the metaphors of horizontal and vertical experience and the spiritual qualities of musical experience expressed through those metaphors.
In the immense heat of an August night, a shot rings out across a withered cotton field, and in an instant, a family is shattered. From the wonderland of a young man, wild and free on the rolling plains of West Texas, to the darkest horrors of Vietnam, Trace Clement is pursued by the abiding and distant presence of his grandfather, Fowler Clement, a man haunted by fidelity to the terms of a dark and unbearable promise.
Hugh of Emblin is, so far as he's concerned, the worst student that the Academy at Skyhold has ever seen. He can barely cast any spells at all, and those he does cast tend to fail explosively. If that wasn't bad enough, he's also managed to attract the ire of the most promising student of his year- who also happens to be the nephew of a king. Hugh has no friends, no talent, and definitely doesn't expect a mage to choose him as an apprentice at all during the upcoming Choosing. When a very unexpected mage does choose him as apprentice, however, his life starts to take a sharp turn for the better. Now all he has to worry about is the final test for the first years- being sent into the terrifying labyrinth below Skyhold.
German forces have destroyed everything dear to Mary Theresa Malinowski--including her native Poland and her childhood innocence. When an unexpected gift sends her to America, her path crosses that of Nelson Thomas, an embittered veteran whose own plans met a swift death on the battlefields of Europe. Now he considers himself unworthy of anyone's love. Can two young people scarred by war's inhumanity find lasting peace? Will they ever be able to forgive their enemies? Only then will their hearts recognize and reach out for an equally precious gift... the kind of unconditional love for each other that only God can bestow.
Presenting cutting-edge research from transnational scholars and activists, Difficult Dialogues about Twenty-First-Century Girls introduces original methodologies and girl-centered program design to the field of girls' studies. The editors pair progressive girls' studies research on topics such as differential privilege, voice, cultural values, and access to material resources, with provocative questions in order to further the thinking about issues that are often marginalized or overlooked in feminist domains. In addition, the book serves as a manual for educators and activists, designed to promote critical discussions that are accessible and includes a final dialogue with contemporary scholars about their work and the current direction of the field.