This volume collects thirteen tales of classic horror, mystery, supernatural and fantasy. They are not quaint stories of antiquary; rather they are potent, heart-clutching tales that resonate with universal themes and contemporary immediacy. Providence, RI author C. M. Eddy, Jr. possessed a breathtaking range and depth in his writings, and each of these stories in this collection is a wonderful, shuddersome surprise.
H.P. Lovecraft, aside from devising his own works in his Cthulhu Mythos cycle, also collaborated in his day with many younger writers of the uncanny and eerie. Available for the first time in paperback, this collection features stories to which the master of horror added his own ingenious touch.
Winner of the 2021 National Jewish Book Award for Contemporary Jewish Life and Practice Finalist for the 2021 Kirkus Prize in Nonfiction A New York Times Notable Book of the Year A Wall Street Journal, Chicago Public Library, Publishers Weekly, and Kirkus Reviews Best Book of the Year A startling and profound exploration of how Jewish history is exploited to comfort the living. Renowned and beloved as a prizewinning novelist, Dara Horn has also been publishing penetrating essays since she was a teenager. Often asked by major publications to write on subjects related to Jewish culture—and increasingly in response to a recent wave of deadly antisemitic attacks—Horn was troubled to realize what all of these assignments had in common: she was being asked to write about dead Jews, never about living ones. In these essays, Horn reflects on subjects as far-flung as the international veneration of Anne Frank, the mythology that Jewish family names were changed at Ellis Island, the blockbuster traveling exhibition Auschwitz, the marketing of the Jewish history of Harbin, China, and the little-known life of the "righteous Gentile" Varian Fry. Throughout, she challenges us to confront the reasons why there might be so much fascination with Jewish deaths, and so little respect for Jewish lives unfolding in the present. Horn draws upon her travels, her research, and also her own family life—trying to explain Shakespeare’s Shylock to a curious ten-year-old, her anger when swastikas are drawn on desks in her children’s school, the profound perspective offered by traditional religious practice and study—to assert the vitality, complexity, and depth of Jewish life against an antisemitism that, far from being disarmed by the mantra of "Never forget," is on the rise. As Horn explores the (not so) shocking attacks on the American Jewish community in recent years, she reveals the subtler dehumanization built into the public piety that surrounds the Jewish past—making the radical argument that the benign reverence we give to past horrors is itself a profound affront to human dignity.
In this second issue of Phenomenal Stories, we continue the Cyberpunk serial 'Closer' and the more traditional science fiction serial 'After: The End of the World's Not All It's Cracked Up To Be.' Richard H. Nilsen returns with a horror story in collaboration with Shawn M. Tomlinson titled "The 9 Corners." It takes place at Nine Corners Lake in the Adirondacks. J.D. Hayes-Canell is back, too, with another horror tale, this one titled, "Julie in a Jar." The story of Robert and Cara continues with "A Visitor in Arkham." Over on the non-fiction side, there's Gosh! Wow! A Personal History of the Pulps Chapter 2: The Start of It All. And Shawn M. Tomlinson rounds out the issue with his Hitchhiker in Time column, The Lurking Fear, about H.P. Lovecraft and the need to write.
In this second issue of Phenomenal Stories, we continue the Cyberpunk serial 'Closer' and the more traditional science fiction serial 'After: The End of the World's Not All It's Cracked Up To Be.' Richard H. Nilsen returns with a horror story in collaboration with Shawn M. Tomlinson titled "The 9 Corners." It takes place at Nine Corners Lake in the Adirondacks. J.D. Hayes-Canell is back, too, with another horror tale, this one titled, "Julie in a Jar." The story of Robert and Cara continues with "A Visitor in Arkham." Over on the non-fiction side, there's Gosh! Wow! A Personal History of the Pulps Chapter 2: The Start of It All. And Shawn M. Tomlinson rounds out the issue with his Hitchhiker in Time column, The Lurking Fear, about H.P. Lovecraft and the need to write.
“What does it mean to be lonely?” Thomas Dumm asks. His inquiry, documented in this book, takes us beyond social circumstances and into the deeper forces that shape our very existence as modern individuals. The modern individual, Dumm suggests, is fundamentally a lonely self. Through reflections on philosophy, political theory, literature, and tragic drama, he proceeds to illuminate a hidden dimension of the human condition. His book shows how loneliness shapes the contemporary division between public and private, our inability to live with each other honestly and in comity, the estranged forms that our intimate relationships assume, and the weakness of our common bonds. A reading of the relationship between Cordelia and her father in Shakespeare’s King Lear points to the most basic dynamic of modern loneliness—how it is a response to the problem of the “missing mother.” Dumm goes on to explore the most important dimensions of lonely experience—Being, Having, Loving, and Grieving. As the book unfolds, he juxtaposes new interpretations of iconic cultural texts—Moby-Dick, Death of a Salesman, the film Paris, Texas, Emerson’s “Experience,” to name a few—with his own experiences of loneliness, as a son, as a father, and as a grieving husband and widower. Written with deceptive simplicity, Loneliness as a Way of Life is something rare—an intellectual study that is passionately personal. It challenges us, not to overcome our loneliness, but to learn how to re-inhabit it in a better way. To fail to do so, this book reveals, will only intensify the power that it holds over us.
2003 2005 Poet of the Year Shakespeare Award of Excellence recipient The Love Scrolls Seven The Love Scrolls is an epic to literally sweep you off of your feet. I love therefore, I'm forever. As Shakespeare shall write of his kings, so I shall write of mine. We shall cover the ground with love's growth, and upon the earth with love's tree we shall sod, Spreading its fruit in abundance unto a lover, unto our brother, unto each other, and unto God. Shore up your works, with faith and love guild, For these are the only eternal substances from which mankind is allowed to build. Cover artist: April Sampson Graphic artist: Tate Krupa
The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)
The award-winning poet weaves a tapestry of literary heritage and intimate reflection as she pays tribute to women artists and mentors, and circles the ongoing mysteries of friendship, love, art, and loss. In this powerful gathering of poems about her own "influencers," as well as poems on Dadaist artist Méret Oppenheim and the young choreographer Lauren Lovette, Brenda Shaughnessy dwells in memories of the women who set her on her artistic path. In the title poem, she explores the eternal quality of an intense touchstone relationship with Tanya, about whom she writes, "Everyone's not you to me . . . Worth loving once, why not now?" We all have our own Tanya, and in this book we meet friends, mentors, sisters, lovers, who inhabit a verse classroom where Shaughnessy's passion for literature—forged in her own formative studies, as in the poem "Coursework"—is our teacher. In flowing stair-step tercets, Shaughnessy leads us down into her generative core, exposing moments of spiritual and intellectual awakening, her love of art and the written word, and her sense of the life force itself, which is ignited by the conversation—across time and space—with other women.
