Perhaps it's Love, the original element, which gives this book its name, concerns four young adults that play a vital role to follow their hearts; sometimes without adequate preparation, or the appropriate equipment as a test of the will. This of course, nearly crushes each person's spirit. In one-way or another, each youth is linked to each other (ages between 18 and 21). The novel is primarily concerned with choices in love, in some cases a manifesto about its dangers. At the end it, it must be said, nothing was tolerable but the best. No one was without sin. Four youths [l96768], while being in the process of growth get stirred up quite a lot, some even lost in the commotion of events, while feelings become nourished and intensified, all aching for love, in their own way. A lesson might well be learned if they can only harness their crying hearts; but first unhappiness has to be conquered (part of the theme and plot). The story has a shy-charm to it, a quick gaiety, and objective tenderness. It is dramatic; it has an exploring inner mind. Many parts of this book are based on actual events, transformed into historical fiction.
Wuthering Heights is the name of Mr. HeathcliffÕs dwelling. ÔWutheringÕ being a significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather. Pure, bracing ventilation they must have up there at all times, indeed: one may guess the power of the north wind blowing over the edge, by the excessive slant of a few stunted firs at the end of the house; and by a range of gaunt thorns all stretching their limbs one way, as if craving alms of the sun. Happily, the architect had foresight to build it strong: the narrow windows are deeply set in the wall, and the corners defended with large jutting stones. Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and especially about the principal door; above which, among a wilderness of crumbling griffins and shameless little boys, I detected the date Ô1500,Õ and the name ÔHareton Earnshaw.Õ I would have made a few comments, and requested a short history of the place from the surly owner; but his attitude at the door appeared to demand my speedy entrance, or complete departure, and I had no desire to aggravate his impatience previous to inspecting the penetralium. One stop brought us into the family sitting-room, without any introductory lobby or passage: they call it here Ôthe houseÕ pre-eminently. It includes kitchen and parlour, generally; but I believe at Wuthering Heights the kitchen is forced to retreat altogether into another quarter: at least I distinguished a chatter of tongues, and a clatter of culinary utensils, deep within; and I observed no signs of roasting, boiling, or baking, about the huge fireplace; nor any glitter of copper saucepans and tin cullenders on the walls. One end, indeed, reflected splendidly both light and heat from ranks of immense pewter dishes, interspersed with silver jugs and tankards, towering row after row, on a vast oak dresser, to the very roof. The latter had never been under-drawn: its entire anatomy lay bare to an inquiring eye, except where a frame of wood laden with oatcakes and clusters of legs of beef, mutton, and ham, concealed it. Above the chimney were sundry villainous old guns, and a couple of horse-pistols: and, by way of ornament, three gaudily-painted canisters disposed along its ledge. The floor was of smooth, white stone; the chairs, high-backed, primitive structures, painted green: one or two heavy black ones lurking in the shade. In an arch under the dresser reposed a huge, liver-coloured bitch pointer, surrounded by a swarm of squealing puppies; and other dogs haunted other recesses.
Woman plans, God laughs... Woman Persists. Introducing a new Jewish voice from the South that tells us with humor, panache, and raw frankness her irresistible story of what it means to become an American woman today. South of My Dreams follows the adventures and misadventures of Fania, a quixotic heroine, who dreamed all her life of making it big in New York City. Growing up in 1970s Italy, Fania felt constrained by a stale environment, corrupt society, and national culture hostile to women's independence. In pursuit of her childhood fantasy, and heavily influenced by Hollywood films, she leaves everything behind to begin her new life in New York, where she thinks her American Dream awaits. Instead, her American nightmare begins. From miraculous breakthroughs to tragic setbacks, Fania's path is marked by an irreparable trauma while also being graced by intense love, faithful friendships, and inspiring mentors. Through dramatic twists and turns—and to her great surprise—Fania learns the true meaning of the American expression to "go south." Simultaneously merciless and humorous, F. K. Clementi's memoir is ultimately an inspiring account of a woman's disillusionment and personal rebirth. Entertaining, original, and poetic, South of My Dreams will resonate with all who fight hard for what they want and refuse to put aside their childhood dreams.
Christian perfection consists in the twofold way of charity: service of neighbor and our direct quest for God's love. Many of us discover ways to love our neighbor, but few achieve intimacy with God. Why? Because we don't know how to prepare ourselves properly to reach this exalted goal. In these pages, Father Gabriel of St. Mary Magdalen lays out for us a time-tested path toward achieving complete intimacy with God, the path first mapped out centuries ago by the Church's acclaimed master of the contemplative life, St. John of the Cross (1542-1591). St. John showed that God hungers for union with each of us but also requires arduous efforts on our part, the many details of which Father Gabriel explains in these enlightening pages. Do you perceive holiness as an unattainable goal for you? Or is fear of the fatigue of such an effort holding you back? Absorb this book, and allow gentle St. John to take you by the hand and lead you — as he has led so many others — to true intimacy with our Lord.
Making It Like a Man: Canadian Masculinities in Practice is a collection of essays on the practice of masculinities in Canadian arts and cultures, where to “make it like a man” is to participate in the cultural, sociological, and historical fluidity of ways of being a man in Canada, from the country’s origins in nineteenth-century Victorian values to its immersion in the contemporary post-modern landscape. The book focuses on the ways Canadian masculinities have been performed and represented through five broad themes: colonialism, nationalism, and transnationalism; emotion and affect; ethnic and minority identities; capitalist and domestic politics; and the question of men’s relationships with themselves and others. Chapters include studies of well-known and more obscure figures in the Canadian arts and culture scenes, such as visual artist Attila Richard Lukacs; writers Douglas Coupland, Barbara Gowdy, Simon Chaput, Thomas King, and James De Mille; filmmakers Clement Virgo, Norma Bailey, John N. Smith, and Frank Cole; as well as familiar and not-so-familiar tokens of Canadian masculinity such as the hockey hero, the gangsta rapper, the immigrant farmer, and the drag king. Making It Like a Man is the first book of its kind to explore and critique historical and contemporary masculinities in Canada with a special focus on artistic and cultural production and representation. It is concerned with mapping some of the uniquely Canadian places and spaces in the international field of masculinity studies, and will be of interest to academic and culturally informed audiences.
In the 1930s he established himself as a wide-ranging Shakespearean actor. His marriage in 1940 to Vivien Leigh (his second wife) seemed to complete the image of the romantic star. From the mid-40s he excelled in directing himself in Shakespeare on film, such as his dramatically-shot Henry V (1944), with its timely excesses of patriotism. When the new wave of British drama began in the late 1950s, Olivier was immediately part of it. As an actor of such wide range, and a successful producer and director, Olivier was a natural choice to bring the National Theatre into existence in 1963. Together with his new wife Joan Plowright (they had married in 1961), he built up a brilliant company and repertoire at the Old Vic. Olivier became the first actor to be given a peerage.
