Greek myths - true or false? They should be false, and to 16-year-old Sophie Claire, it's never crossed her mind that they aren't. Until one day in History class when her teacher spends a day on Greek mythology and something strange starts happening - her friends and classmates begin to tell myths about certain Greek deities with frightening precision. And for some reason, she's began to feel a certain affinity for Persephone, the Greek maiden who was kidnapped by Hades, the Lord of the Underworld, and forced into a marriage with him. This isn't some coincidence or freak dream, she later finds out from a host of strange individuals who claim they're from Olympus, the grandoise home of the gods themselves. She is actually a modern reincarnation of the goddess Persephone, and she's not the only one. A few of her classmates also happen to represent the gods and goddesses from popular Greek myths, and the fact that all of them are present means that something monumental is about to happen.
Sol 2781 is the third of three full-length novels set immediately after the novelette length short story Hera 2781. Major Drago Tell Dramis is celebrating the fact that the saboteur has been caught, and the Earth solar arrays will be safe now. The arrest of a member of the main board of Hospital Earth has consequences though. As Drago hits orbital levels of fury, and declares his own personal war against Hospital Earth, he’s hit by even more unexpected problems. There’s a joke that says one birth member of the Tell clan attracts trouble, two birth members of the Tell clan invite minor disasters, while three is the critical mass that triggers cataclysmic events. As the danger mounts, the question is whether Drago and his two cousins, Jaxon and Gemelle, can prove an alternative theory. Are three members of the Tell clan really the critical mass that resolves cataclysmic events? This extra-long novel concludes the Drago Tell Dramis 2781 sequence of Hera 2781, Hestia 2781, Array 2781, and Sol 2781.
Array 2781 is the third part of the 2781 sequence featuring Drago Tell Dramis as a newly qualified fighter pilot, and best read after Hera 2781 (A Drago short story) and Hestia 2781 (A Drago novel) Drago has now learned the secret that his Betan clan has been hiding for almost a decade. He's currently alternating between moods of pitying his second cousin and fighter team leader, Jaxon, and wanting to strangle him. They both have to put their feelings aside though, and concentrate on using lumbering solar array transport ships to help with the repairs of the five Earth solar arrays, because Earth is critically short of power. Fortunately, repairing solar arrays is perfectly routine work, so Drago definitely can't get into trouble. Cover depicts the solar array transport ship, Antares.
"According to one myth, the first Athenian citizen was born from the earth after the sperm of a rejected lover, the god Hephaistos, dripped off the virgin goddess Athena's leg and onto fertile soil. Henceforth Athenian citizens could claim to be truly indigenous to their city and to have divine origins that bypassed maternity. In these essays, the renowned French Hellenist Nicole Loraux examines the implication of this and other Greek origin myths as she explores how Athenians in the fifth century forged and maintained a collective identity."--Publisher's description.
In 1937 and 1938, Ernest Hemingway made four trips to Spain to cover its civil war for the North American News Alliance wire service and to help create the pro-Republican documentary film The Spanish Earth. Hemingway’s Second War is the first book-length scholarly work devoted to this subject. Drawing on primary sources, Alex Vernon provides a thorough account of Hemingway’s involvement in the Spanish Civil War, a messy, complicated, brutal precursor to World War II that inspired Hemingway’s great novel For Whom the Bell Tolls. Vernon also offers the most sustained history and consideration to date of The Spanish Earth. Directed by Joris Ivens, this film was a landmark work in the development of war documentaries, for which Hemingway served as screenwriter and narrator. Contributing factual, textual, and contextual information to Hemingway studies in general and his participation in the war specifically, Vernon has written a critical biography for Hemingway’s experiences during the Spanish Civil War that includes discussion of the left-wing politics of the era and the execution of José Robles Pazos. Finally, the book provides readings ofFor Whom the Bell Tollsboth in historical context and on its own terms. Marked by both impressive breadth and accessibility, Hemingway’s Second War will be an indispensible resource for students of literature, film, journalism, and European history and a landmark work for readers of Ernest Hemingway.
Offering a concise and illuminating introduction to the most important areas of myth, this fully updated and revised second edition contains new chapters and student-friendly features. Essential reading for students of any level wanting an introduction to the area.
The classical Greek myth of Demeter and her daughter Persephone as told in Homer's Hymn to Demeter has been used most often to explain the cycle of the seasons. However, a closer examination will reveal insights on living and dying, loss and reconciliation, and suffering and healing. This work demostrates the continued importance and relevance of the myth of Demeter and Persephone to today's society. The first three chapters provide a summary of the Homeric story and examine the myth from the perspectives of the mother and daughter. The following chapters discuss the symbolism of critical objects, the role of female mentoring, the role of Hades and the meaning of the underworld, the subject of rape, and the masculinist perspective presented by Zeus and Helios, and derive lessons useful for healing and knowledge. The Hymn to Demeter as translated by Helene Foley is included as an appendix in order to provide a basis for the discussion in the text. Notes and a bibliography also follow the text.
How do poems remember? What kinds of memory do poems register that factual, chronological accounts of the past are oblivious to? What is the self created by such practices of memory? To answer these questions, Uta Gosmann introduces a general theory of 'poetic memory,' a manner of thinking that eschews simple-minded notions of linearity and accuracy in order to uncover the human subject's intricate relationship to a past that it cannot fully know. Gosmann explores poetic memory in the work of Sylvia Plath, Susan Howe, Ellen Hinsey, and Louise GlYck, four contemporary American poets writing in a wide range of styles and discussed here for the first time together. Drawing on psychoanalysis, memory studies, and thinkers from Nietzsche and Benjamin to Halbwachs and Kristeva, Gosmann uses these demanding poets to articulate an alternative, non-empirical model of the self in poetry. Plath, the quintessential 'confessional' poet, faces the precariousness of personal memory and first suffers, but then sardonically embraces the most horrific and vulgar fragments from the storehouse of collective memory. Howe, the experimentalist language poet, becomes the rememberer of marginal or 'nonconformist' figures, whose eccentricities, incoherences, and silences are the very grounds that enable her to inhabit the past. Hinsey, the lesser known of these poets who writes in the European tradition of poetry of witness, creates 'cities of memory' for us to dwell in, allowing us to imagine the past's spatial and temporal texture and its personal significance in fresh ways. GlYck, the 'post-confessional,' expands the memory of the self by enmeshing personal and archetypal memory via the persona of Persphone, a generative confluence which leaves both kinds of memory transformed. When these poets look at the past, they perceive its flawed representations, its lack of certainty, its margins and gaps, its traces in space, its deep marks in the psyche. They share an intuitive certainty of self as being other, and they look in different places to find what was split off, forgotten, and psychically lost. They use words, which are complex bits of memory, to push against encrusted structures or apparent boundaries of the mind and seek to represent more fluid states of consciousness. Poetic language—-riven with metaphor, unrestricted by familiar forms of logic—-is especially conducive to the work of poetic memory. Poetic memory embraces a vision of the self as malleable and mysterious, characterized by a radical otherness, and shaped by unconscious forces, while it remains open for continual imaginative reinvention. Through the practice of poetic memory, to speak with Plotinus, the soul 'is and becomes what it remembers.'
