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"फ़ारिग़ (Fārigh)" means "free from everything" in Hindi, symbolizing liberation and release. The Last Page" represents the end of a chapter, closure, and letting go. The First Moment" signifies a new beginning, a fresh start, and the dawn of a new era. Together, the title "फ़ारिग़: The Last Page, The First Moment" represents the transformation from darkness to light, sorrow to joy, and bondage to freedom. "In the realm of love and life, we often find ourselves lost in the labyrinth of our own emotions. We search for answers, for a sense of purpose and meaning, for a glimpse of hope to guide us through the darkness. And it is in these moments of introspection that we turn to the written word, to poetry, to find solace and comfort. For me, poetry has always been a sanctuary, a refuge from the storms of life. It is where I turn my feelings into words, where I transform my emotions into art. And it is this passion for poetry that has led me to create this book, फ़ारिग़ (Fārigh) - The Last Page, The First Moment.
INFINITY IS NOT WHAT IT SEEMS… Infinity is commonly assumed to be a logical concept, reliable for conducting mathematics, describing the Universe, and understanding the divine. Most of us are educated to take for granted that there exist infinite sets of numbers, that lines contain an infinite number of points, that space is infinite in expanse, that time has an infinite succession of events, that possibilities are infinite in quantity, and over half of the world’s population believes in a divine Creator infinite in knowledge, power, and benevolence. According to this treatise, such assumptions are mistaken. In reality, to be is to be finite. The implications of this assessment are profound: the Universe and even God must necessarily be finite. The author makes a compelling case against infinity, refuting its most prominent advocates. Any defense of the infinite will find it challenging to answer the arguments laid out in this book. But regardless of the reader’s position, Forever Finite offers plenty of thought-provoking material for anyone interested in the subject of infinity from the perspectives of philosophy, mathematics, science, and theology.
Your First Page is unlike any other craft book on writing. It is based on the premise that practically everything that can go right or wrong in a work of fiction or memoir goes wrong or right on the first page. Those first 300 or so words function like canaries in coal mines, forecasting success or predicting trouble. They establish the crucial bond between writer and reader, setting them off together on a path toward the heart or climax of a story—or they fail to do so. From first pages we stand to learn most of what we need to know to succeed as authors. This new workshop and classroom edition of Your First Page has been revised to better fit the needs of creative writing classrooms and workshops.
Seeking writing success? Start at the beginning... Whether you’re looking to get published or just hoping to hook your reader, first impressions are vital. Compelling opening scenes are the key to catching an agent or editor’s attention, and are crucial for keeping your reader engaged. As a writer, what you do in your opening pages, and how you do it, is a matter that cannot be left to chance. The First 50 Pages is here to help you craft a strong beginning right from the start. You’ll learn how to: • introduce your main character • establish your story world • set up the plot’s conflict • begin your hero’s inner journey • write an amazing opening line and terrific first page • and more This helpful guide walks you through the tasks your first 50 pages must accomplish in order to avoid leaving readers disoriented, frustrated, or bored. Don’t let your reader put your book down before ever seeing its beauty. Let The First 50 Pages show you how to begin your novel with the skill and intentionality that will land you a book deal, and keep readers’ eyes glued to the page.
NOW AN EMMY-NOMINATED HULU ORIGINAL SERIES • NEW YORK TIMES BESTSELLER • LONGLISTED FOR THE BOOKER PRIZE • “A stunning novel about the transformative power of relationships” (People) from the author of Conversations with Friends, “a master of the literary page-turner” (J. Courtney Sullivan). “[A] novel that demands to be read compulsively, in one sitting.”—The Washington Post ONE OF ENTERTAINMENT WEEKLY’S TEN BEST NOVELS OF THE DECADE TEN BEST BOOKS OF THE YEAR: People, Slate, The New York Public Library, Harvard Crimson Connell and Marianne grew up in the same small town, but the similarities end there. At school, Connell is popular and well liked, while Marianne is a loner. But when the two strike up a conversation—awkward but electrifying—something life changing begins. A year later, they’re both studying at Trinity College in Dublin. Marianne has found her feet in a new social world while Connell hangs at the sidelines, shy and uncertain. Throughout their years at university, Marianne and Connell circle one another, straying toward other people and possibilities but always magnetically, irresistibly drawn back together. And as she veers into self-destruction and he begins to search for meaning elsewhere, each must confront how far they are willing to go to save the other. Normal People is the story of mutual fascination, friendship, and love. It takes us from that first conversation to the years beyond, in the company of two people who try to stay apart but find that they can’t. WINNER: The British Book Award, The Costa Book Award, The An Post Irish Novel of the Year, Sunday Times Young Writer of the Year Award BEST BOOKS OF THE YEAR: The New York Times, The New York Times Book Review, Oprah Daily, Time, NPR, The Washington Post, Vogue, Esquire, Glamour, Elle, Marie Claire, Vox, The Paris Review, Good Housekeeping, Town & Country
How have twentieth-century writers used techniques in fiction to communicate the human experience of time? Dramatizing Time in Twentieth-Century Fiction explores this question by analyzing major narratives of the last century that demonstrate how time becomes variously manifested to reflect and illuminate its operation in our lives. Offering close readings of both modernist and non-modernist writers such as Wodehouse, Stein, Lewis, Joyce, Hemingway, Faulkner, Borges, and Nabokov, the author shares and unifies the belief, as set forth by the distinguished philosopher Paul Ricoeur, that narratives rather than philosophy best help us understand time. They create and communicate its meanings through dramatizations in language and the reconfiguration of temporal experience. This book explores the various responses of artistic imaginations to the mysteries of time and the needs of temporal organization in modern fiction. It is therefore an important reference for anyone with an interest in twentieth-century literature and the philosophy of time.
"Book describes the world premiere of the American opera based on Melville's novel Moby-Dick, with the same name. Wallace describes the creative process of writing the music and libretto, the rehearsals and stage design, and the opening night in Dallas in May 2010."--ECIP Data View, Summary.
5-Star Reviews for The Boy on the Lawn “What an emotionally riveting book!… This story broke my heart, the suspense, mystery and story was weaved together in a perfect way. – Galina, Goodreads Reviewer I absolutely loved this book…The twists and turns kept me on the edge of my seat and I was late coming back from lunch at work because I did not want to put it down. – Don, Amazon review Sixteen is too young to start criminal profiling. Someone out there’s given him no choice… Hell is when your little brother goes missing. I was only gone a few seconds, getting change for the ice cream truck. I didn’t want to leave him but when he begs, I’ll do anything for him. In the time it took me to grab the change off the kitchen counter and run back out, he vanished. Thank God, he came back after less than a day. For whatever reason, whoever took him must have had a change of heart and returned him. Though, not before drugging him. He’s been acting weird ever since, even more so than when he displays that bizarre superpower of his. Not only that, but my parents are acting weird too. I thought they’d be so happy and grateful, especially when, a few days later, other Asian boys began to disappear, and not come back. Not only aren’t Mom and Dad thrilled Stevie is back, they shuffled us off to live with our grandfather. I don’t have time to worry about that though. Now I know how it feels to have someone I love snatched away, all I can think about is finding those boys and getting them back home, which also means working with my grandfather’s former student, ultra-handsome Detective Ito (who leaves me tongue-tied and I’m sure my family has figured out now I’m gay because of it). Then Stevie and I can go back to our weird but more peaceful life of haunting the library stacks for homeschooling and Stevie’s beloved Spiderman comics… Fast forward… Why did I ever think Stevie and I could have our life back? We won’t, not ever. Not only that, Stevie’s superpower is actually contagious and I’m going to have bad need of it… Publisher’s content warning: racism, off-page sexual abuse, family death and grief.
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