Evil comes in many guises. Joseph Stalin said that "Death is the solution to all problems. No man - no problem." He also said; "One death is a tragedy; one million is a statistic." Stalin; like his entire ilk, accepted that there is no more guilt for multiple killings than for just one. Evil the encyclopedia tells us is morally reprehensible: sinful or wicked. Innocence on the other hand is defined as not being corrupted or tainted with evil or unpleasant emotion; sinless; pure. From these definitions we would then assume that the two; Evil and Innocence, could not cohabit in the same host. Evil Innocence will cause you to question that assertion. Murder is the personification of evil. There is no excuse, there is no way that murder is committed out of innocence. "Evil Innocence" will challenge your understanding of innocence as retired Detective Inspector Len Potter has to reconcile his past assumption that Henry Papford was responsible for the serial killing of six young women.
Nawal El Saadawi's books are known for their powerful denunciation of patriarchy in its many forms: social, political, and religious. Set in an insane asylum, The Innocence of the Devil is a complex and chilling novel that recasts the relationships of God and Satan, of good and evil. Intertwining the lives of two young women as they discover their sexual and emotional powers, Saadawi weaves a dreamlike narrative that reveals how the patriarchal structures of Christianity and Islam are strikingly similar: physical violation of women is not simply a social or political phenomenon, it is a religious one as well. While more measured in tone than Salman Rushdie's Satanic Verses, Saadawi's novel is similar in its linguistic, literary, and philosophical richness. Evoking a world of pain and survival that may be unfamiliar to many readers, it speaks in a universal voice that reaches across cultures and is the author's most potent weapon.
Graham Greene once wrote that «Innocence is a kind of insanity.» This book examines the many shades of innocence in Greene's characters: the «blank innocence,» «depraved innocence,» and «absurd innocence» of Anthony Farrant; the piteous innocence of Pinkie; the simple innocence of Raven; the pure innocence of Father Quixote; the paradoxical innocence of the Whisky Priest; the inverted innocence of Sarah Miles; the faithful innocence of Father Rivas, the Dog-Ears Priest; the intrusive innocence of Doctor Fischer; and the playful innocence of Harry Lime. The complex concept of innocence is found to be a prevailing theme in Greene's novels.
On a global platform we are witnessing the increased visibility of the people we call children and teenagers as political activists. Meanwhile, across the contemporary performance landscape, children are participating as performers and collaborators in ways that resonate with this figure of the child activist. Beyond Innocence: Children in Performance proposes that performance has the ability to offer alternatives to hegemonic perceptions of the child as innocent, in need of protection, and apolitical. Through an in-depth analysis of selected performances shown in the UK within the past decade, alongside newly gathered documentation on children’s participation in professional performance in their own words, this book considers how performance might offer more capacious representations of and encounters with children beyond the nostalgic and protective adult gaze elicited within mainstream contexts. Motivated by recent collaborations with children on stage that reimagine the figure of the child, the book offers a new approach to both reading age in performance and also doing research with children rather than on or about them. By redressing the current imbalance between the way that we read children and adults’ bodies in performance and taking seriously children’s cultures and experiences, Beyond Innocence asks what strategies contemporary performance has to offer both children and adults in order to foster shared spaces for social and political change. As such, the book develops an approach to analysing performance that not only recognises children as makers of meaning but also as historically, politically, and culturally situated subjects and bodies with lived experiences that far exceed the familiar narratives of innocence and inexperience that children often have to bear.
The Turn of the Screw by Henry James is a classic ghost story that continues to captivate readers over a century after its initial publication. Set in the late 19th century, the novella follows a young governess who is hired to care for two young children, Flora and Miles, at the remote and eerie Bly Manor. As the governess begins her duties, she becomes increasingly convinced that the manor is haunted by the spirits of the previous governess, Miss Jessel, and her lover, Peter Quint, who both died under mysterious circumstances. The story unfolds as the governess tries to protect the children from the malevolent ghosts, while also questioning her own sanity and the motives of the children in their interactions with the spirits. One of the most intriguing aspects of The Turn of the Screw is its unreliable narrator. The story is told through the perspective of the governess, whose mental state and perceptions of events are constantly called into question. This creates a sense of ambiguity and uncertainty, leaving readers to question whether the ghosts are real or just figments of the governess's imagination. James masterfully plays with the theme of perception and reality, leaving readers to draw their own conclusions about the events at Bly Manor. Another striking element of the novella is its use of Gothic elements. The isolated location, the decaying mansion, and the presence of ghosts all contribute to the eerie atmosphere of the story. James also incorporates psychological horror, as the governess's fears and paranoia intensify throughout the story, building tension and suspense. The Turn of the Screw is a prime example of Gothic literature, with its exploration of the dark side of human nature and the blurred lines between the living and the dead. One of the most controversial aspects of the novella is its ambiguous ending. The governess's final confrontation with the ghosts and the fate of the children are left open to interpretation, inviting readers to ponder the true meaning of the story. Some critics argue that the ghosts are a product of the governess's overactive imagination, while others believe that they are real and that the children are in danger. This open-ended conclusion has sparked countless debates and interpretations, making The Turn of the Screw a thought-provoking and enduring piece of literature. In addition to its literary merits, The Turn of the Screw also offers insight into the societal norms and expectations of the time period in which it was written. James explores themes of gender roles and class distinctions through the character of the governess, who is expected to be subservient and obedient to her male employer and to maintain the social hierarchy between herself and the children. The story also touches on the taboo subject of sexual relationships, particularly in regards to the ghosts and their influence on the children. Ultimately, The Turn of the Screw is a haunting and enigmatic work that continues to captivate readers with its complex characters, Gothic atmosphere, and thought-provoking themes. It is a testament to Henry James's mastery of storytelling and his ability to create a sense of unease and suspense that lingers long after the final page. A must-read for anyone interested in Gothic literature, psychological thrillers, or the blurred lines between reality and the supernatural.
The fear of falling, the awareness of lost innocence, lost illusions, lost hopes and intentions, of civilization in decline—these are the themes which link literature to theology, both concerned with the shape of human destiny. Otten discusses the continuing viability of the myth of the Fall in literature. He relates a wide variety of romantic and modern works to fundamental issues in modern Christianity.
Cassie Howard is a young single woman who has dedicated her life to helping children and families deal with abuse. With great compassion for each child she counsels, she gains strength to help them by leaning on her faith. When she meets four-year-old Annon, Cassie is determined to do all she can to help her, but it's Annon who may be helping her instead. A three-year-old named Justin has been kidnapped, and Annon could hold the key to finding him. With the clock ticking and a world of darkness unraveling around her, will Cassie be able to help Justin in time? Witness "A Fight for Innocence" like you've never seen before! "Many people have no idea of how evil has impacted the lives of innocent children and the results continuing on into their adult life. This book seeks to tell that story so that you will have a better understanding of what others have experienced and how it has affected them. You will find yourself feeling compassion for some characters and great disdain for others. As a result of reading this book, you should discover an increasing ability to believe and comfort those whose lives have been affected by these horrible crimes." Dave Woodruff, Pastor, York Seventh-day Adventist Church
When did Satan fall? We know that the angels were created prior to the Earth. We find Satan had already fallen in Genesis 3. The mystery is, when did he fall? It appears that there are substantial Scriptural references to his rebellion, his agenda, and the subsequent catastrophic judgment that ensued. This raises the whole issue of the origin of evil. And why hasn't God simply wiped him, and sin, out completely? It is also disturbing to recognize that Satan tempted Jesus by offering him the kingdom, power and the glory in the temptations recorded in Luke 5. How could Satan lay a legitimate claim to these?
