Strange, wondrous things happen in these two short stories, which are both the perfect introduction to Gabriel García Márquez, and a wonderful read for anyone who loves the magic and marvels of his novels.After days of rain, a couple find an old man with huge wings in their courtyard in 'A Very Old Man with Enormous Wings' - but is he an angel? Accompanying 'A Very Old Man with Enormous Wings' is the short story 'The Sea of Lost Time', in which a seaside town is brought back to life by a curious smell of roses.
A newly translated collection of fiction by the influential Italian modernist, continuing on his landmark work Zeno's Conscience. A Very Old Man collects five linked stories, parts of an unfinished novel that the great Triestine Italo Svevo wrote at the end of his life, after the international success of Zeno’s Conscience in 1923. Here Svevo revisits with new vigor and agility themes that fascinated him from the start—aging, deceit, and self-deception, as well as the fragility, fecklessness, and plain foolishness of the bourgeois paterfamilias—even as memories of the recent, terrible slaughter of World War I and the contemporary rise of Italian fascism also cast a shadow over the book’s pages. It opens with “The Contract,” in which Zeno’s manager, the hardheaded young Olivi, expresses, like the war veterans who were Mussolini’s early followers, a sense of entitlement born of fighting in the trenches. Zeno, by contrast, embodies the confusion and paralysis of the more decorous, although sleepy, way of life associated with the onetime Austro-Hungarian Empire which for so long ruled over Trieste but has now been swept away. As always, Svevo is attracted to the theme of how people fail to fit in. It is they, he suggests, who offer a recognizably human countenance in a world ravaged by the ambitions and fantasies of its true believers.
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The first story set in the fishing village of Kingsport, which is featured in the later works of the one of the greatest horror writers of all time. It is rumored that the mysterious old man who lives alone in the small New England town was once a sea captain. It is also rumored that he is hoarding a treasure. When three robbers decide to steal it, they will encounter a bloodthirsty evil unlike any they ever imagined . . . “The Terrible Old Man is the story of three career criminals looking to rob the eponymous character, an eccentric retired mariner so ancient that no one alive remembers his youth. . . . This is also the first story set in the fictional New England geography that Lovecraft will detail over the course of future writing. . . . So, what we see in these stories is Lovecraft beginning to construct the alternate world which will be the home to his most famous works, at least as much a unifying element of the author’s oeuvre as those details subsequent writers and critics have defined as the ‘Cthulhu Mythos.’ As such, The Terrible Old Man is not only an effective piece of eerie storytelling, it is also an important stepping stone in the development of a bigger Lovecraftian world.” —The Blood-Shed “A piece of minimalist brushwork, with most of the narrative suggested by negative space . . . In sharp contrast to the central Mythos tales, the horror is allusive and oblique, the violence kept off-stage.” —Tor.com
Day breaks over the town. Wake up, everybody! Its time to go to school. It's time for the old man to get up, too. The night was icy and he's hungry. His name? He no longer knows ... This is the story of a person with no job, no family, no home - nobody, who can't even remember his name. But his day changes when he is noticed by a child.
This book proposes a new theory (“proximization theory”) in the area of political/public legitimization discourse. Located at the intersection of Pragmatics, Cognitive Linguistics and critical approaches, the theory holds that legitimization of broadly consequential political/public policies, such as pre-emptive interventionist campaigns, is best accomplished by forced construals of virtual external threats encroaching upon the speaker and her audience’s home territory. The construals, which proceed along spatial, temporal and axiological lines, are forced by strategic deployment of lexico-grammatical choices drawn from the three domains. This proposal is illustrated primarily in the in-depth analysis of the 2001-2010 US discourse of the War-on-Terror, and secondarily in a number of pilot studies pointing to a wide range of further applications (environmental discourse, health communication, cyber-threat discourse, political party-representation). The theory and the empirical focus of the book will appeal to researchers working on interdisciplinary projects in Pragmatics, Semantics, Cognitive Linguistics, Critical Discourse Studies, as well as Journalism and Media Studies.
As she goes about her work with the villagers, slum dwellers and the common men and women of India, Sudha Murty—writer, social worker and teacher—listens to them and records what they have to say. Their accounts of the struggles and hardships which they have at times overcome, and at other times been overwhelmed by, are put together in this book. There are stories about people’s generosity—and selfishness—in times of natural disasters like the tsunami; women struggling to speak out in a world that refuses to listen to them; and tales of young professionals trying to find their feet as they climb up the corporate ladder. Told simply and directly from the heart, The Old Man and His God is a collection of snapshots of the varied facets of human nature and a mirror to the souls of the people of India.
