The familiar images of Word and Light break open with fresh insight in the imaginative and wise ruminations of Sister Genevieve Glen, OSB. From Nazareth to Emmaus, psalms to beatitudes, Advent to Pentecost, through characters, stories, and prayers, this nimble poet and lifelong student of Scripture takes us to new places in texts we thought we knew. At turns probing, humorous, and inspiring, these reflections ultimately help us to know more deeply the Word made Flesh, Jesus of Nazareth — crucified and risen, the Light of the World.
For fans of Andrea Penrose and Deanna Raybourn, and anyone who relishes riveting, well-researched historical fiction, this inventive and enthralling debut mystery set in Victorian London pairs the unconventional, trailblazing Dr. Julia Lewis with a traditional and skeptical police inspector, as they try to stop a wily serial killer whose vengeance has turned personal. November 1866: The grisly murder site in London’s East End is thronged with onlookers. None of them expect the calmly efficient young woman among them to be a medical doctor, arrived to examine the corpse. Inspector Richard Tennant, overseeing the investigation, at first makes no effort to disguise his skepticism. But Dr. Julia Lewis is accustomed to such condescension . . . To study medicine, Julia had to leave Britain, where universities still bar their doors to women, and travel to America. She returned home to work in her grandfather’s practice—and to find London in the grip of a devastating cholera epidemic. In four years, however, she has seen nothing quite like this—a local clergyman’s body sexually mutilated and displayed in a manner that she—and Tennant—both suspect is personal. Days later, another body is found with links to the first, and Tennant calls in Dr. Lewis again. The murderer begins sending the police taunting letters and tantalizing clues—though the trail leads in multiple directions, from London’s music halls to its grim workhouses and dank sewers. Lewis and Tennant struggle to understand the killer’s dark obsessions and motivations. But there is new urgency, for the doctor’s role appears to have shifted from expert to target. And this killer is no impulsive monster, but a fiendishly calculating opponent, determined to see his plan through to its terrifying conclusion . . .
Martyn Wallace awoke in his boarding house and held his aching head. His room was brown and dirty and bare. He called it Reading Gaol. Amidst the filth and fury of Dublin 1904, the theatrical event of the century is about to explode! Fading stars, rebels, whores and romantics irreverently expose the strange and lurid world of Dublin by Lamplight. An instant hit when it first opened in 2004, this hugely entertaining and anarchic production is a night to change a nation's destiny! Unless it all goes horribly wrong . . . Written by Michael West in collaboration with Corn Exchange theatre company, Dublin by Lamplight was first produced at the Project Arts Centre in Dublin in 2004, before a transfer to the Traverse Theatre, Edinburgh, in 2005. This new edition of the playscript was published to coincide with a major revival at the Abbey Theatre in spring 2017
'The creation of new science requires moving beyond simply understanding one another's perspectives. We need to find transformative spaces for knowledge exchange and progress.' Māori have a long history of innovation based on mātauranga and tikanga – the knowledge and values passed down from ancestors. Yet Western science has routinely failed to acknowledge the contribution of Indigenous peoples and their vital worldviews. Drawing on the experiences of researchers and scientists from diverse backgrounds, this book raises two important questions. What contribution can mātauranga make to addressing grand challenges facing New Zealand and the world? And in turn, how can Western science and technology contribute to the wellbeing of Māori people and lands?
"The Detective and the Cowboy," "Wondering Where All the Dust Comes From," "Ejaculations and Silence," and "Where the Corkscrew Was" these are Garry Leonard's chapter titles for his readings of four of the stories, "An Encounter," "Eveline," "The Boarding House," and "Clay." The titles convey the freshness and thoughtfulness that are indicative of all of Leonard's new readings of these fifteen often-read stories. Leonard begins with an excellent overview of Lacan and proceeds to examine each story in a separate chapter. Lacan's rethinking of human subjectivity plays throughout the book and ultimately unites it. Not only does Leonard's work preserve the complex interplay between Lacanian theory and Joyce's texts, but also completes another and no less significant project: the rescuing of Dubliners from the category of "easy Joyce." Throughout the readings the relevance of Lacan's ideas to feminist theory is emphasized in order to examine both what Lacan terms the "masquerade of femininity" and the equally illusory power structure of the "masculine subject." The frequent and jargon-free explications of Lacan's terms and theories, coupled with a close reading of each of the stories, makes this a book to be consulted by anyone wishing to explore new ways to approach Dubliners, new ways to read these rich stories again.
Literature in Times of Revolution (1927) -- Miscellaneous Thoughts (1927) -- The Divergence of Art and Politics (1928) -- Literature and Revolution: A Reply (1928) -- An Overview of the Present State of New Literature (1929) -- A Glimpse at Shanghai Literature (1931) -- On the "Third Type of Person" (1932) -- The Most Artistic Country (1933) -- The Crisis of the Small Essay (1933) -- V. On Modern Culture -- Impromptu Reflections No. 48 (1919) -- Untitled (1922) -- What Happens after Nora Walks Out (1924) -- On Photography and Related Matters (1925) -- Modern History (1933) -- Lessons from the Movies (1933) -- Shanghai Children (1933) -- How to Train Wild Animals (1933) -- Toys (1934) -- The Glory to Come (1934) -- The Decline of the Western Suit (1934) -- Take-ism (1934) -- Ah Jin (1936) -- Written Deep into the Night (1936) -- Notes -- Lu Xun's Oeuvre -- Acknowledgments -- Illustration Credits -- Index
