It's 1981 and Belfast is burning. So, too, is freshly widowed Bessie Halstone: she burns with a desire to break with her troubled past. With her feckless husband gone, she leaves home hurriedly with her naughty nine-year-old son, Herkie, and not much else. The Dentist, an IRA enforcer, is on her tail. He's convinced that Bessie, with her "yella hair all puffed up like Merlin Monroe's," has absconded with the takings from a bank heist. But car trouble strands mother and son in Tailorstown, a sleepy Ulster village. Bessie finds temporary work as housekeeper for the handsome and mysterious parish priest. In the meantime, Lorcan Strong, an artist and a native of the village, is summoned home. He's been shanghaied into forging paintings for the IRA. It's work he cannot refuse; his mother and their business are under threat. Yet things are not what they seem in quirky Tailorstown. There is a "sleeper" in the village. But who? Bizarrely, it is young Herkie, due to his childish curiosity, who unravels the mystery and saves the day.
The two novels tell the story of Mara and her widowed father, Enrique Aracil, a physician, from her earliest years, sharing her life with family members and growing into womanhood. Her fathers involvement with the anarchist movement brings him in contact with a young fanatic Nilo Brull, who fails in a desperate attempt to assassinate the young king and his bride, throwing a bomb at their open carriage on their wedding day. Aracil is accused of abetting the bomber, and he and his daughter are forced to flee Madrid. The first novel follows the pair as they travel on foot and later on horseback through the countryside west of the city on their way to Portugal. The author describes in great detail all their adventures as they move from one town to the next, staying at inns and meeting the many characters on their way. It ends with their voyage by sea from Portugal to London. The second novel describes their stay in London, at a pension in Bloomsbury, and the various people they encounter while they remain in London. Baroja reveals the influence of his favorite author, Charles Dickens, throughout many picturesque scenes. When they consider its safe to return to Spain, they sail back, and Marie ends up marrying her cousin.
"Leicester performs a full-scale revision of the 'dramatic way of reading Chaucer, ' the 'character-oriented, dramatic approaches' that continue to underlie many (perhaps most) current readings of Chaucer. His well-articulated approach to the "Tales " is informed by immersion in and understanding of current literary-critical theory. In fact, he makes an important intervention in critical theory (certainly in medieval literary criticism) in his project of 'recovering the subject' and theorizing its agency after the evacuation of individual subjectivity by structuralism. He operates in the knowledge that the human subject is a construct, however, a knowledge that structuralism provided; Leiscester's is thus best understood as a 'post-structuralist acitivity.' Along the way, he does brilliant close readings of thee major "Tales"--the Wife of Bath's, Pardoner's, and Knight's--and the "General Prologue." Very few writers have asked of and gotten so much from Chaucer's texts."--Carolyn Dinshaw, author of "Chaucer's Sexual Politics" "A brilliant study of the nature of human subjectivity in Chaucer's "Canterbury Tales." It responds to some controversial issues in Chaucer criticism and to relevant questions in modern psychoanalytic, post-structuralist, and sociological theories of the self. It contributes to both Chaucer studies and modern theory by giving rich, nuanced, and fruitful readings of three tales. . . . Leicester's interpretations of the poems are original and compelling. Having read them, I find them indispensable."--Judith Ferster, author of "Chaucer on Interpretation"
Until 1832, when an Act of Parliament began to regulate the use of bodies for anatomy in Britain, public dissection was regularlyand legallycarried out on the bodies of murderers, and a shortage of cadavers gave rise to the infamous murders committed by Burke and Hare to supply dissection subjects to Dr. Robert Knox, the anatomist. This book tells the scandalous story of how medical men obtained the corpses upon which they worked before the use of human remains was regulated. Helen MacDonald looks particularly at the activities of British surgeons in nineteenth-century Van Diemens Land, a penal colony in which a ready supply of bodies was available. Not only convicted murderers, but also Aborigines and the unfortunate poor who died in hospitals were routinely turned over to the surgeons. This sensitive but searing account shows how abuses happen even within the conventions adopted by civilized societies. It reveals how, from Burke and Hare to todays televised dissections by German anatomist Dr. Gunther von Hagens, some peoples bodies become other peoples entertainment.
This book explores numerous ways in which vulgar language, grotesque appearances, and horrific experiences affect us in our relationships with others and with ourselves. Its compelling case studies and revealing interviews bring together ideas and issues that are a lingering, but unexplored, focus in psychotherapy literature. The grotesque and the vulgar are major inhabitants of the vast unconscious. Their variations and haunting presence are anticipated and reflected in the transactions of everyday life. So too do they manifest themselves in our social institutions, maintaining their presence in the seven lively arts as much as in mental hospitals, rehabilitation facilities, and psychotherapy practices. Most of all, the grotesque and vulgar challenge the contemporary search for meaning and sanity. This book will help the psychotherapist better deal with the rich soil of grotesqueness and vulgarity in the interplay between the psychotherapy patient and the experiential world. Reading it will open new vistas of treatment possibilities. As each contributing author explores the potentialities and obstacles inherent in the competing and complementing forces of the grotesque and socially condoned sensibilities, you will learn about the value of the grotesque in the consultation room. You will further learn how the flaunted and unconscious vulgarities of everyday life enrich the creative vision inherent in therapeutic conversations. Most important, you will be challenged by what it means to abide with the sometimes pesky vulgar and grotesque guises in each of your client's lives. Here's a sample of what you'll find in Inhabitants of the Unconscious: The Grotesque and the Vulgar in Everyday Life: Louis Fierman's recollection of his treatment of a Nazi soldier, which offers fascinating therapeutic possibilities when issues of the grotesqueare at hand an extraordinary analysis of the role of the grotesque in artwork, with special attention paid to the work of Hieronymus Bosch a fascinating look at Sigmund Freud's perspective on the grotesque— and what it says about Freud himself the remarkable formative experiences of children with craniofacial difference (facial deformities)—an exposition that will enrich your therapeutic interventions with children and adolescents who face atypical challenges extraordinary case studies—by Robert Marchesani about his therapeutic endeavors with a Vietnam veteran caught in the aftermath of his incestuous past and by E. Mark Stern about a dying woman who was unable to detach from, but ultimately vivified by an unyielding masochistic fixation
Examines the political, economic, and racial factors which contributed to Hawaii's transition from feudal role to statehood.
Rita-Mae has lived in fear for as long as she can remember. Fear of being alone, fear of her past and, above all, fear of her husband, Harry. Until she spots an advertisement for a vacant cottage in a small town in Northern Ireland. She makes her escape filled with hope, ready to start a new life in a new home, free from the pain of her past. But her place of refuge may not be as safe--or as anonymous--as she thought.
When Ruby Clare's father was alive, they happily toiled together on their small dairy farm in Northern Ireland. Since his death seven months ago, Ruby--thirty-three years old, plain, and plump--has become a veritable drudge for Martha, her endlessly critical mother. Then comes the day when Ruby finds her late grandmother's old suitcase in the attic. Among its strange contents: a slim, handmade volume called The Book of Light. The deeper Ruby delves into its mysterious pages, the more confident she feels. But Martha, convinced that her newly empowered daughter must be possessed, enlists the help of psychiatrist Henry Shevlin. Henry is unflappable on the surface, yet inwardly he's reeling from his wife's unexplained disappearance the year before. As Ruby undergoes therapy alongside other local patients, including lonely bachelor farmer Jamie McCloone, all their lives intersect in unexpected ways. And Ruby, alone for so long, finds the courage to connect--with Jamie, with Henry, and with her own loving, indomitable spirit.
A cloth bag containing eight copies of the title and 1 discussion folder.
This fresh and engaging book looks at each of the Roman emperors from Julius Caesar in 44BC to Romulus Augustulus in AD 476, illuminating not only the manner of their deaths but what their final days tell us about their lives. We also hear how the most powerful position in the history of the Western world held a permanent appeal, despite its perils, with eager candidates constantly coming forward to seize the throne. Very few of the Roman emperors died a natural death. The insane Caligula was murdered after leaving the theatre; Caracalla while he was relieving himself. Caesar was stabbed twenty three times and Otho was dragged into the Tiber with a flesh-hook. However great an emperor's power, danger was ever present. Emperors Don't Die in Bed provides a clear history of the imperial succession as well as a compelling depiction of the intrigue and drama of Roman imperial politics.