![]() To Govern the Devil in Hell uses the prism of governance to investigate what went wrong in territorial Kansas. In addition, the book also sheds light on the nature of democracy, the challenges of implanting it in distant environs, the necessity of cooperation at the various levels of government, and the value of strong leadership. This question is fundamentally about governance-its existence, exercise, limits, and continuance-and its study has ramifications for understanding both Kansas events and why the American experiment in government failed in 1861. Although ample attention has been devoted to understanding why territorial violence broke out in Kansas in 1856, of equal concern but less illuminated is the question of why government, both local and national, allowed the violence to continue unstanched for so long. One hundred and fifty years after Kansas was admitted to the Union, we still find ourselves fascinated by the specter of "Bleeding Kansas" and the violence that preceded the American Civil War by five years. ![]()
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![]() ![]() ![]() As such, Annabelle’s hoarding acts as our constant hunger to consume and letting impermanent objects give us purpose in life. Benny is used as a vessel of the universe to express the ecological effects of our unbridled exploitation of earth resources. The novel showcases the interconnectivity that exists in the natural world which comes full circle in terms of our symbiotic dependency. Whereas the mother proceeds to add clutter in the house in response to the passing of her husband. Ozeki incorporates Zen principles in the narrative to address the consequences of consumerism and the exploitation of the natural world.įollowing the death of his father, Benny starts hearing voices from objects around the house which progresses to things outdoors. Moreover, the eponymous book becomes a narrator in the novel acting as a voice of reason and wisdom to the protagonist. ![]() Through Benny and Annabelle, the story delves into our attachment to material possession in the way we give them meaning. The book tackles grief, mental illness, and climate change whilst speaking on achieving enlightenment, the power of art, and our connection with inanimate things. The grieving process for the characters takes different forms as means of coping, with Benny hearing voices and Annabelle developing compulsive hoarding. We are thankful for their contributions and encourage you to make your own. These notes were contributed by members of the GradeSaver community. ![]() ![]() The story came to me quite quickly once Hammer had asked me to write a novel for them. Please tell us about the inspiration for the story? I see her as a woman who cannot truly shine in the era in which she lives, though Gregory does appreciate her true qualities as, ultimately, do her children. In her desire for Gregory, she takes her eye off what is really happening to her daughters. She makes mistakes, yet I sympathise with her. I saw her very clearly from the beginning – yet she wasn’t based on anyone I know: in fact, she was one of those rare characters who arrive fully formed. The novel is set in 1963, before the ‘swinging sixties’ took over, and Rowena is educated and beautiful, but repressed by being a wife during this era, and a mother of five. ![]() Rowena is very much a woman of her time, yet in some ways ahead of her time. ![]() ![]() The volume also brings together commentaries from twenty-six leading scholars of language, gender, and sexuality, within linguistics, anthropology, modern languages, education, information sciences, and other disciplines. The revised and expanded edition presents the full text of the original first edition, along with an introduction and annotations by Lakoff in which she reflects on the text a quarter century later and expands on some of the most widely discussed issues it raises. ![]() Lakoff's central argument that "women's language" expresses powerlessness triggered a controversy that continues to this day. For the past thirty years, scholars of language and gender have been debating and developing Lakoff's initial observations.Īrguing that language is fundamental to gender inequality, Lakoff pointed to two areas in which inequalities can be found: Language used about women, such as the asymmetries between seemingly parallel terms like master and mistress, and language used by women, which places women in a double bind between being appropriately feminine and being fully human. ![]() ![]() ![]() The 1975 publication of Robin Tolmach Lakoff's Language and Woman's Place, is widely recognized as having inaugurated feminist research on the relationship between language and gender, touching off a remarkable response among language scholars, feminists, and general readers. ![]() ![]() ![]() ![]() ![]() By coincidence, Andy has been reading Pages from the Goncourt Journals (NYRB Classics), a spicy, gossip-rich glimpse into 19th century French literary life which has a foreword by Geoff, while John immerses himself in the inner world of John Donne, through regular Backlisted guest Katherine Rundell’s widely acclaimed biography: Super Infinite: The Transformations of John Donne (Faber). While in town, John heals the townspeople with a special gift he inherited from Jason Worthing. To discuss this classic of observational nature writing and spiritual enquiry, we are joined by two writers making their Backlisted debuts: Jay Griffiths, the author of Wild: An Elemental Journey and Geoff Dyer, whose most recent book The Last Days of Roger Federer, featured on the Gormenghast episode. John Tinker spends every winter at his cousin’s inn in the town of Worthing. Annie Dillard was only twenty-nine when her first prose book was published in 1974 it went onto win the Pulitzer Prize for Non-Fiction the following year. Her obvious jumping-off point is Henry David Thoreau’s Walden, which I read years ago. It's all about Dillard living in a cabin in rural Virginia, walking through fields and swamps, observing bugs and frogs, and thinking about life. TinkerStories provide interactive shared reading experiences, designed explicitly for parents to read with their children. Authors Jay Griffiths and Geoff Dyer are our guests for a discussion of Pilgrim at Tinker Creek. Pilgrim at Tinker Creek is Dillard's most famous work. ![]() ![]() ![]() Clarke, was considered one of the "Big Three" science-fiction writers during his lifetime. He has works published in nine of the ten major categories of the Dewey Decimal System (lacking only an entry in the 100s category of Philosophy).Īsimov is widely considered a master of the science-fiction genre and, along with Robert A. ![]() ![]() Professor Asimov is generally considered one of the most prolific writers of all time, having written or edited more than 500 books and an estimated 90,000 letters and postcards. Isaac Asimov was a Russian-born, American author, a professor of biochemistry, and a highly successful writer, best known for his works of science fiction and for his popular science books. ![]() ![]() ![]() But have the true villains been much closer all along? ![]() Emilia was warned that when it came to the Wicked, nothing was as it seemed. Together, Emilia and Wrath play a sin-fuelled game of deception to solve the murder and stop the unrest that's brewing between witches, demons, shape-shifters, and the most treacherous foes of all: the Feared. Now, Emilia will do anything to get to the bottom of these accusations against the sister she thought she knew. When a high-ranking member of House Greed is assassinated, damning evidence somehow points to Vittoria as the murderer. She doesn't just desire his body she wants his heart and soul-but that's something the enigmatic demon can't promise her. But before she faces the demons of her past, Emilia yearns to claim her king, the seductive Prince of Wrath, in the flesh. ![]() #1 New York Times bestselling author Kerri Maniscalco delivers sizzling romance, sexy secrets, and unexpected twists in this unforgettable conclusion to the Kingdom of the Wicked series.Įmilia is reeling from a shocking discovery about her sister, Vittoria. ![]() ![]() ![]() ![]() The series follows the adventures of thirteen-year-old Emily Windsnap after she discovers that she is half mermaid in the first book and is targeted towards middle grade readers.Įmily Windsnap lives aboard a boat with her mother. The series originated as a poem that Kessler was writing about a "little girl who lived on a boat but had a big secret" an editor recommended that Kessler turn the poem into a book. It is illustrated primarily by Sarah Gibb and published by Orion Children's Books in Britain, and Candlewick Press in America. ![]() Orion Children's Books Candlewick Press (US)Įmily Windsnap is a series of children's fantasy novels written by British author Liz Kessler, inaugurated by The Tail of Emily Windsnap in 2003 and continuing as of 2020. Emily Windsnap and the Monster from the DeepĮmily Windsnap and the Castle in the MistĮmily Windsnap and the Land of the Midnight SunĮmily Windsnap and the Ship of Lost SoulsĮmily Windsnap and the Falls of Forgotten Island ![]() ![]() ![]() Bloom, who has wrestled for decades with The Merchant of Venice and with the efforts of Shakespeare revisionists to reinterpret Shakespeare’s genius for modern consumption, remains convinced that the play is irredeemably anti-Semitic: “It would have been better for the last four centuries of the Jewish people,” Bloom writes, “had Shakespeare never written the play.” In fact The Merchant of Venice was so admired and so often performed in German theaters in the 1920s and during the Third Reich that some Jews still living in the shadow of the Holocaust draw a line from Shylock to Auschwitz.īarry Navidi, the producer of last year’s big-screen version of The Merchant of Venice, had a quite different reaction to the play. ![]() If you agree with Harold Bloom, these failures were a good thing. ![]() There had never before been a big-screen version of Shakespeare’s The Merchant of Venice-Orson Welles had given up in the middle of rehearsals, and Laurence Olivier did a stage production but could not raise enough money to make a complete film. ![]() ![]() ![]() As introduction to this picture, the author of the novel upon which it is based, Danielle Steel, or perhaps an android in her stead, explains in brief the general subject of the work that we are about to see, a formulaic piece composed in about equal parts of female angst and fantasy, akin to the soap opera genre that is her speciality, and to obtain which millions of devotees have shelled out many more millions of dollars for the privilege of reading her committee concocted books, now numbered by the score. ![]() |