There exists a magical place near the sea which some believe to be hallowed ground, where the future is idyllic and living in a dream is the only reality. Lyndon Williams is one who seeks this enchanted sanctuary with the hopes of creating a future for himself and his special girl. But his desire turns into a lifelong obsession when Lyndon is not willing to give up his dreams, or his first love, as he unfailingly searches through time for Poseidon's Grotto.
When the world was a much younger place, Lyndon and Helen grew up in an idyllic coastal setting and fell in love. There is nothing unusual about this, except that they experienced this in many past lives. Furthermore, what they perceived as real sometimes did not make any sense, especially in their dreams. Arthur Koestler wrote that dreaming can be seen as “sliding back towards the pulsating darkness, of which we were part before our separate egos were formed.” During the fourth century BC, Plato maintained that what we see and touch is not reality, but only shadows as ethereal as the reflections from a fire in a cave. The illusion of reality is how we comprehend the shadows. But beyond this imperfect perception is Logos, the intangible “collective consciousness,” as Karl Jung once coined, which binds us all and permeates throughout the living cosmos. Here is an idea that the combined experiences and wisdom of all people throughout the ages lie deep like water in the well of the unconscious individual mind. Together, amidst their numerous destinies within the ever-changing interdimensional flux, Lyndon and Helen eventually found their utopia. Here they remain as young lovers, sharing their subliminal reality with us. Is this the stuff of reality, dreams, or madness? As Cervantes declared in Don Quixote, “Maddest of all is to live life as it is and not as it should be.” Perhaps Logos really is the mind of God.
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The author takes us on a journey of discovery as the protagonist discovers that she possesses the astonishing gift of sight but also an abundance of compassion and love for humanity that is unmatched by any God. The author in her adoring portrayal so eloquently and intimately engages with and unravels the infamous Grecian Myth of the great and powerful Medusa. This myth denied Medusa her voice forever condemning her fragmented monstrous form whereas this wonderful story celebrates and gives Medusa back what she had lost for centuries. However, evil has many faces as Medusa unveils the horrid guises of "the righteous" and guides us through the difference between truth and verisimilitude. Condemned to live a half-life in the shadows, her deadly stare forbids any hope of any human contact, she is made to be the repulsive monster that everyone fears they too could become. But her story does not end there. She rewrites history as this so called "monster" holds a mirror up defiantly to the gods and to us.
Hermead of Surazeus is an epic poem about the development of philosophy over 600 years in the lives and ideas of 26 of the greatest philosophers who contributed to the growth of civilization. This single volume edition presents in 126,680 lines of pentameter blank verse the tales of Hermes, Prometheus, Kadmos, Asklepios, Zethos Hesiodos, Thales, Anaximandros, Pythagoras, Herakleitos, Parmenides, Anaxagoras, Empedokles, Leukippos, Philolaos, Demokritos, Aristokles Platon, Aristoteles, Demetrios Phalereus, Epikouros, Arkhimedes, Ktesibios, Eratosthenes, Krates, Hipparkhos, Philodemos, and Lucretius.
After ten years at war, Odysseus returns to Ithaka to find his palace in the hands of violent men. These mortal enemies are overcome but the ghosts of war are not so easily vanquished. Drawing on the Iliad and Odyssey of Homer, and loosely following the model of classical Greek drama, Peter Oswald explores the personal journey behind the fantastic one, and asks what it means to be a hero.
SHORTLISTED FOR THE QWF MAVIS GALLANT PRIZE FOR NON-FICTION THE GLOBE 100: THE BEST BOOKS OF 2022 From LAMBDA Literary Award winner Sina Queyras, Rooms offers a peek into the defining spaces a young queer writer moved through as they found their way from a life of chaos to a life of the mind Thirty years ago, a professor threw a chair at Sina Queyras after they’d turned in an essay on Virginia Woolf. Queyras returns to that contentious first encounter with Virginia Woolf to recover the body and thinking of that time. Using Woolf’s A Room of One’s Own as a touchstone, this book is both an homage to and provocation of the idea of a room of one’s own at the centre of our idea of a literary life. How central is the room? And what happens once we get one? Do we inhabit our rooms? Or do the rooms contain us? Blending memoir, prose, tweets, poetry, and criticism, Rooms offers a peek into the defining spaces a young queer writer moved through as they found their way from a life of chaos to a life of the mind, and from a very private life of the mind to a public life of the page, and from a life of the page into a life in the Academy, the Internet, and on social media. "With Virginia Woolf alongside them, Queyras journeys through rooms literal and figurative, complicating and deepening our understanding of what it means to create space for oneself as a writer. Their hard-won language challenges us to resist any glib associations of Woolf’s famous ‘room’ with an easy freedom. Inspiring and moving, Queyras’s memoir testifies to Woolf’s continuing generative power."—Mark Hussey, editor of Virginia Woolf's Between the Acts (2011) and author of Clive Bell and the Making of Modernism (2021) "In this beautiful, perceptive book, Sina Queyras moves deftly between the words and wake of Virginia Woolf and their own formation as writer, lover, teacher, friend, and person. Rooms is expert in its depiction of personal and literary histories, and firmly aware of its moment of composition. Reading these pages, I was enticed by Queyras’s curiosity and openness, thrilled by the sharp edges of their anger. Tight prose, electric thinking, self-discovery – it’s all here, all abuzz. Rooms is alive." – Heather Christle, author of The Crying Book "It is impossible not to question the world as we thought we knew it by the end of this book. Sina Queyras painstakingly aims their extraordinary nerve and talent at Virginia Woolf’s idea of a room of one’s own: 'It’s a mistake to consider the room without all of its entanglements.' Taking Woolf’s cue, Queyras explores writing that is not world-building but something far more generous and transformative; as Woolf wrote, 'Literature is open to everybody.'" – CAConrad, author of AMANDA PARADISE: Resurrect Extinct Vibration
