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Dear Joan comprises a unique series of letters between a young airman, Tony Ross, and Joan Charles, a girl whom he met briefly in England before he was posted to the Mediterranean during the Second World War. Through these letters, the book traces the development of their relationship from friendship to long-lasting love. With the enthusiasm of youth, Tony and Joan share their dreams of an ideal life in a reconstructed, post-Second World War Britain. Joan's letters reveal the problems of daily life in wartime Britain and give an insight into her voluntary work for the Fire Guard, the land army and the Red Cross, and the bureaucracy she encounters in her job with the Civil Service. Meanwhile, Tony describes the challenges of life in the desert, his increasing responsibilities in the RAF and his experiences in the numerous countries he visits throughout the Middle East. Dear Joan is a touching account of how Tony's and Joan's love began with a chance wartime encounter and quickly blossomed through letters exchanged throughout the Second World War, across the miles that separated them.
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“Rich, imaginative. . . . One of the best novels I’ve read all year.”—Ross King, author of Leonardo and the Last Supper A sensuous, heartbreaking novel about art, beauty, and the choices we make that define us for life. In 1968 a young man travels to Paris, where a series of unlikely events takes him to a tiny village in Italy—and to the one great love of his life. A marble merchant meets a couple on their honeymoon, introducing them to the sensual beauty of Carrara. An Italian woman arrives in Canada to find the father she never knew. A terrible accident in a marble quarry changes the course of a young boy’s life and, ultimately, sets in motion each of these stories, which David Macfarlane masterfully shapes into a magnificent whole. “A beautifully written, complex, and bittersweet story that spans continents and eras.”—Daphne Kalotay, author of Russian Winter and Sight Reading
Reared in a palace and educated at Gakushuin, the elite Peers School, Princess Masako was elegant, refined, and proper in all things royal and Japanese. She was also stunningly beautiful. It was therefore only natural that she was being groomed to be betrothed to a princeno less than Crown Prince Hirohito, the future Emperor of Japan. The rulers of the newly emerging Empire of the Sun, however, decided to offer the beautiful princess as a sacrifice on the altar of Japans imperialism. She, they conspired, must marry Yi Eun, the crown prince of Koreas Joseon Kingdom, whose national independence they were strangulating with their conquest ambition. As Korea was forced to become a part of Japan, so was Masako forced to become a part of Korea in order to symbolize the union of the two nations in mortal conflict. Like a fish in a net or a bird in a snare, Princess Masako turned and twisted to live, to be free, and to be happy. Painfully aware that events in her life were beyond her control, however, she decided to accept her destiny. Even so, the imposed destiny would not control her, for she decided to become a heroine, not a victim of her misfortunes, driven by her passion for love, life, and happiness. Masakos story is about the human spirit empowering a victim of misfortunes and an unwanted destiny to become a hero, transforming adversity into patches of paradise as beautiful as the rainbow.
Letters from a GI to his wife during WWII. (from the intro) “This is a love story of World War II. Every word is true, every person Is real, and every place is real. I pray that it may remind those who read it, what enormous sacrifices were made for us. I hope you enjoy the book.”
Female beauty systems everywhere are complex, integrating markers of class, status, power, and sexuality to perform the fundamental function of sorting individuals into categories of “more” or “less” desirable. Heirs to the tradition of courtly love, modern western female beauty systems tend to share the norm of man as pursuer, woman as pursued, having developed around the trope of the madly-desiring poet or knight supplicating his aloof and lovely lady for her favor. The apparent longevity of the courtly love tradition raises the question of whether the way in which it structures male desire in reaction to female beauty is part of a “universal” tendency, an evolutionary adaptation, despite clear evidence that female beauty systems are also, in fact, socially constructed, and reflect enormous ambivalence about the power and performance of beauty. Although modern western female beauty systems are routinely demystified and contested today, the purveyors of culture that support them—institutional, intellectual, artistic, commercial, and popular—continue as they always have to construe women as objects of male desire. Still, within this basic structure, the systems have varied greatly across time and space, with women using beauty as a form of social capital in widely differing ways. Moreover, as individuals have begun to experience their bodies as malleable and endlessly transformable, rather than unruly and unyielding, many have begun to experience beauty less as a given and more as a project. The nine essays collected here examine a number of different Western female beauty systems over the centuries, considering how women have complied with, contributed to, profited or suffered from, and resisted them.
