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Groundbreaking new poetry evokes a wide range of influences, from Kant to the Upanishads, while making deep exploratory journeys into the complexities of sexual relationships, disease, heartbreak, and death. Winner of the Contemporary Poetry Series Competition. Original.
When Katie Roiphe arrived at Harvard in the fall of 1986, she found that the feminism she had been raised to believe in had been radically transformed. The women's movement, which had once signaled such strength and courage, now seemed lodged in a foundation of weakness and fear. At Harvard, and later as a graduate student at Princeton, Roiphe saw a thoroughly new phenomenon taking shape on campus: the emergence of a culture captivated by victimization, and of a new bedroom politics in the university, cloaked in outdated assumptions about the way men and women experience sex. Men were the silencers and women the silenced, and if anyone thought differently no one was saying so. Twenty-four-year-old Katie Roiphe is the first of her generation to speak out publicly against the intolerant turn the women's movement has taken, and in The Morning After she casts a critical eye on what she calls the mating rituals of a rape-sensitive community. From Take Back the Night marches (which Roiphe terms "march as therapy",and "rhapsodies of self-affirmation") to rape-crisis feminists and the growing campus concern with sexual harassment, Roiphe shows us a generation of women whose values are strikingly similar to those their mothers and grandmothers fought so hard to escape from - a generation yearning for regulation, fearful of its sexuality, and animated by a nostalgia for days of greater social control. At once a fierce excoriation of establishment feminism and a passionate call to our best instincts, The Morning After sounds a necessary alarm and entreats women of all ages to take stock of where they came from and where they want to go.
2020 J. ANTHONY LUKAS PRIZE WINNER From the bestselling author of There Are No Children Here, a richly textured, heartrending portrait of love and death in Chicago's most turbulent neighborhoods. The numbers are staggering: over the past twenty years in Chicago, 14,033 people have been killed and another roughly 60,000 wounded by gunfire. What does that do to the spirit of individuals and community? Drawing on his decades of experience, Alex Kotlowitz set out to chronicle one summer in the city, writing about individuals who have emerged from the violence and whose stories capture the capacity--and the breaking point--of the human heart and soul. The result is a spellbinding collection of deeply intimate profiles that upend what we think we know about gun violence in America. Among others, we meet a man who as a teenager killed a rival gang member and twenty years later is still trying to come to terms with what he's done; a devoted school social worker struggling with her favorite student, who refuses to give evidence in the shooting death of his best friend; the witness to a wrongful police shooting who can't shake what he has seen; and an aging former gang leader who builds a place of refuge for himself and his friends. Applying the close-up, empathic reporting that made There Are No Children Here a modern classic, Kotlowitz offers a piercingly honest portrait of a city in turmoil. These sketches of those left standing will get into your bones. This one summer will stay with you.
A masterful reconstruction of one of the worst Indian massacres in American history In April 1871, a group of Americans, Mexicans, and Tohono O?odham Indians surrounded an Apache village at dawn and murdered nearly 150 men, women, and children in their sleep. In the past century the attack, which came to be known as the Camp Grant Massacre, has largely faded from memory. Now, drawing on oral histories, contemporary newspaper reports, and the participants? own accounts, prize-winning author Karl Jacoby brings this perplexing incident and tumultuous era to life to paint a sweeping panorama of the American Southwest?a world far more complex, diverse, and morally ambiguous than the traditional portrayals of the Old West.
Churches are not immune to violence, as we have seen from shootings at houses of worship across the nation. The challenge for faith communities is how to respond to potential violence. Whom Shall I Fear? asks congregational leaders to examine whether their operational and security policies are consistent with gospel values. It raises common themes in approaches to church security and looks at them in the light of scripture. Whom Shall I Fear? provides thought-provoking reflections on topics such as locked doors, living faithfully in an unfaithful world, the question of armed security in a church setting, and the duty of Christians to extend hospitality to their neighbor. It includes stories from survivors of gun violence and wisdom on how churches can work to transform an anxious and fear-driven world. Whom Shall I Fear? helps the church thoughtfully wrestle with what it means to be a church of grace, welcome, and love when confronted with acts of cruelty, division, and hate.
This story points to human nature. Its seeming repetitive side relative to the use of violence and bad behavior. Change appears through centuries out of reach despite the presence of good people. In this story, a solid Navy father-daughter family crime war is the path taken often.
The New York Times-bestselling collection of poems from celebrated poet Mary Oliver In A Thousand Mornings, Mary Oliver returns to the imagery that has come to define her life’s work, transporting us to the marshland and coastline of her beloved home, Provincetown, Massachusetts. Whether studying the leaves of a tree or mourning her treasured dog Percy, Oliver is open to the teachings contained in the smallest of moments and explores with startling clarity, humor, and kindness the mysteries of our daily experience.
Is America really an ultra-violent nation? This sweeping history by Chris Murphy, U.S. senator from Connecticut, interrogates the origins of our violent impulses, the roots of our obsession with firearms, and the national mythologies that prevent us from confronting our crisis of violence. In many ways, the United States is an economic, social, and political pacesetter. Yet American ingenuity has failed to address one of the most fundamental of all human concerns: the imperative to keep ourselves and our loved ones safe from harm. Alone in the developed world, America is bathed in violence. Our churches and schools, our movie theaters and dance clubs, our workplaces and our streetscapes no longer feel safe. Our political discourse is consumed by intimations of violence, and our foreign policy is centered on the violence that we export to the rest of the world. Violence has become, it seems, America's most insoluble problem. But to confront this problem, we must first understand it. The Violence Inside Us examines the deep roots of human violence itself and the propensity of people to harm themselves and each other. The result is a carefully researched, deeply emotional, and personal book that dissects America's violence obsession through an evolutionary, historical, and economic lens. It also takes a hard look at one distinctly American feature: our love of guns. Murphy tells the story of his profound personal transformation in the wake of the mass murder at Newtown, and his subsequent immersion in the complicated web of influences that drive American violence. Murphy comes to the conclusion that while America's historical and cultural relationship to violence is indeed unique, America is not inescapably violent. We have the power to change, he explains, while detailing the reasons why we've tolerated so much violence for so long. Weaving together personal narrative, captivating storytelling, and compelling history, Murphy takes on all the familiar arguments, obliterates the stale talking points, and points the way to a fresh, less polarized conversation about violence and the weapons that enable it--a conversation we urgently need in order to transform the national dialogue. The Violence Inside Us is the moving and extraordinary result of Senator Murphy's deep exploration of the roots and modern reality of American violence. It is also a work of honest self-examination that is exceptionally rare among the political class. This book is different, and it will make a difference.
WINNER OF THE 2020 PULITZER PRIZE FOR POETRY Finalist for the 2019 National Book Award "100 Notable Books of the Year," The New York Times Book Review One Book, One Philadelphia Citywide Reading Program Selection, 2021 "By some literary magic—no, it's precision, and honesty—Brown manages to bestow upon even the most public of subjects the most intimate and personal stakes."—Craig Morgan Teicher, “'I Reject Walls': A 2019 Poetry Preview” for NPR “A relentless dismantling of identity, a difficult jewel of a poem.“—Rita Dove, in her introduction to Jericho Brown’s “Dark” (featured in the New York Times Magazine in January 2019) “Winner of a Whiting Award and a Guggenheim Fellowship, Brown's hard-won lyricism finds fire (and idyll) in the intersection of politics and love for queer Black men.”—O, The Oprah Magazine Named a Lit Hub “Most Anticipated Book of 2019” One of Buzzfeed’s “66 Books Coming in 2019 You’ll Want to Keep Your Eyes On” The Rumpus poetry pick for “What to Read When 2019 is Just Around the Corner” One of BookRiot’s “50 Must-Read Poetry Collections of 2019” Jericho Brown’s daring new book The Tradition details the normalization of evil and its history at the intersection of the past and the personal. Brown’s poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we’ve become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown’s mastery, and his invention of the duplex—a combination of the sonnet, the ghazal, and the blues—is testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while reveling in a celebration of contradiction.