The primary characters of this novel: the vicar, churchwarden, and Thomson, took life within my wonderings on the death of my bishop, and do not represent any persons, living or dead, that I have known in my life. Some of the other characters in the novel do reflect specific people (though never from confession, of course), and I offer their words, experiences and wisdom as a tribute to them and to the integrity and struggles of their own journey. This novel makes use of fiction to investigate questions raised by males - young, middle-aged and older - as they undergo the difficult, lifelong metamorphosis into manhood, engaging one primary issue as a paradigm for the many, unique - and deeply personal - issues which confront each man along his journey.
“I felt hot tears streaming down my cheeks at his words. Spoken so carelessly but with such shameless intent. He knew how I felt. How I had been feeling. How lost and alone and full of grief my days had been. Avery was not a friend. Not even a trusted acquaintance. But, he understood what I was going through. Even if he didn’t have a compassionate bone in his entire buffed body, he knew what I had suffered. I didn’t have to justify my behaviour to him.” Walking out on her life and hiding in the only place she can think of that the Iunctio - the vampire governing body - and in particular, the Champion, can not find her, Lucinda faces eternity alone and on the run. Heartbroken, bereft and quite desolate she hides in amongst the lowest forms of vampire society. Doing what she can to keep the innocents safe, while denying herself the support she desperately needs to recover from such personal losses. A saviour of sorts arrives, but can he be trusted? Avery Rousseau has only ever been interested in himself. But the handsome, arrogant and always so well-put-together vampire does seem to care. At least he offers a distraction from the heartache and loss. Lucinda battles with her inherent mistrust of the one vampire who understands what she is going through. But, should she allow him inside her crumbling walls? More than just vampires stalk Lucinda though. There is a fairy who claims she is his one true love. Lucinda is called to his Light, she can’t help reaching for it, but to do so could have everlasting consequences she may not be prepared to face. As time runs out - first with the Iunctio, then the Ljósálfar - Lucinda must do what she has to do, to survive, before her heartache breaks her in two. But memories plague her, her mind starts to play cruel tricks and slowly reality begins to crumble, taking a once strong and confident Nosferatin down as quickly as a predator catches its prey. And now, there are just so many predators, Lucinda may not stand a chance at all at avoiding being their prey.
Yehuda Amichai (1924–2000) was the foremost Israeli poet of the twentieth century and an internationally influential literary figure whose poetry has been translated into some 40 languages. Hitherto, no comprehensive literary study of Amichai's poetry has appeared in English. This long-awaited book seeks to fill the gap. Widely considered one of the greatest poets of our time and the most important Jewish poet since Paul Celan, Amichai is beloved by readers the world over. Beneath the carefully crafted and accessible surface of Amichai's poetry lies a profound, complex, and often revolutionary poetic vision that deliberately disrupts traditional literary boundaries and distinctions. Chana Kronfeld focuses on the stylistic implications of Amichai's poetic philosophy and on what she describes as his "acerbic critique of ideology." She rescues Amichai's poetry from complacent appropriations, showing in the process how his work obliges us to rethink major issues in literary studies, including metaphor, intertextuality, translation, and the politics of poetic form. In spotlighting his deeply egalitarian outlook, this book makes the experimental, iconoclastic Amichai newly compelling.
“I’m supposed to be the one that calls him back toward the Light. 'I am the Light to your Dark. You call to me as I call to you. I will always hold you dear.’ But, it was getting harder. I loved him and it’s not as if I never knew it would be difficult loving a vampire. I just never knew the degree of difficulty it would entail.” Michel battles his rising Dark, all but losing his Light within. His line falters, his life is in turmoil and Lucinda is ultimately shut out. Without his kindred to draw him back to the Light, just how Dark will Michel become? And can Lucinda survive without him in her life? To bring him back towards the Light they both must face harsh truths and their deepest secrets and desires. But a vampire’s number one rule is to survive at all costs. Just what will Michel do to survive and how will it affect Lucinda? An ancient vampire appears in London feasting on innocents with abandon. Lucinda’s role as the Sanguis Vitam Cupitor calls her to the streets of Knightsbridge and into the grasp of this powerful and hungry Dark predator. Calling on all her reserves she is barely able to survive with her life, but fails to save those humans he blithely kills. Guilt wages with fear as she realises this is not a one-time event and attempts to discover the meaning behind his appearance and Dark hunger which cannot be assuaged. In the shadows left by the Dark vampire lurks a strange new threat. Dressed in the guise of a mischievous, gorgeous and compelling young man who catches Lucinda in a spell which could not possibly be of this Earth. It’s not just his beauty that traps Lucinda though, it’s the fact that he has Light. A Light so similar to her own that she is drawn to it, can’t stop herself reaching for it. But she ultimately knows, to touch it could prove her downfall. But, can she resist? The world is turning Darker, greater threats than vampires are about to appear and Lucinda is the key. Try as she might, without her kindred by her side her chances of success are dimmed. For together they are stronger, apart they grow weaker. And there are always those on the sidelines who are willing to take advantage of the weak. They are vampyre, it is in their nature to hunt prey and Lucinda is the ultimate game for the predator within.
Since the second half of the last century art historians, realizing that the image of Rembrandt’s work had become blurred with time, have attempted to redefine the artist’s significance both as a source of inspiration to other artists and as a great artist in his own right. In order to carry on the work started by previous generations, a group of leading Dutch art historians from the university and museum world joined forces in the late 1960s in order to study afresh the paintings usually ascribed to the artist. The researchers came together in the Rembrandt Research Project which was established to provide the art world with a new standard reference work which would serve the community of art historians for the nearby and long future. They examined the originals of all works attributed to Rembrandt taking full advantage of today’s sophisticated techniques including radiography, neutron activation autoradiography, dendrochronology and paint sample analysis — thereby gaining valuable insight into the genesis and condition of the paintings. The result of this meticulous research is laid down chronologically in the following Volumes: A Corpus of Rembrandt Paintings, Volume I, which deals with works from Rembrandt’s early years in Leiden(1629-1631), published in 1982. A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986. THIS VOLUME: A Corpus of Rembrandt Paintings, Volume III, goes into his later years of reputation (1635-1642), published in 1990. Each Volume consists of a number of Introductory Chapters as well as the full Catalogue of all paintings from the given time period attributed to Rembrandt. In this catalogue each painting is discussed and examined in a detailed way, comprising a descriptive, an interpretative and a documentary section. For the authenticity evaluation of the paintings three different categories are used to divide the works in: A. Paintings by Rembrandt, B. Paintings of which Rembrandt’s authorship cannot be positively either accepted or rejected, and C. Paintings of which Rembrandt’s authorship cannot be accepted. This volume (Volume III) contains 820 pages, starting of with three introductory chapters and discussing 86 paintings. In clear and accessible explanatory text all different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging. In this volume important paintings including the Night Watch are discussed.
This volume brings together for the first time the known writings of the pioneering Native American religious and political leader, intellectual, and author, Samson Occom (Mohegan; 1723-1792). The largest surviving archive of American Indian writing before Charles Eastman (Santee Sioux; 1858-1939), Occom's writings offer unparalleled views into a Native American intellectual and cultural universe in the era of colonialization and the early United States. His letters, sermons, journals, prose, petitions, and hymns--many of them never before published--document the emergence of pantribal political consciousness among the Native peoples of New England as well as Native efforts to adapt Christianity as a tool of decolonialization. Presenting previously unpublished and newly recovered writings, this collection more than doubles available Native American writing from before 1800.
