Death Of A Nobody

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1914 edition. Excerpt: ... The old man made his way into the station and was at once swallowed up in its huge uneasy life. He was frightened of the crowd, which covered the platform in bunches, but was thin and straggling here and there with occasional isolated figures. His calm vanished, and he passed from group to group trying to find reasons for stopping somewhere. But where the groups were like solid lumps he was repulsed, and the straggling parts of the crowd infected him with their own anxiety, so that he ended by taking up a position between two placid-looking travellers, where he almost ceased to be afraid of missing the train. Bells vibrated, and the crowd, deeply stirred, suffered a change. A thousand links snapped or strained; the whole space swarmed with little moving forces, and was suddenly dotted with points, each of which formed the pivot of an eddy. Yet the general outlines were not altered. Godard could still see the two placid travellers beside him, with their bags on the ground against their legs; and there were the straggling lines, bulging with luggage, and the lumpy groups, still the same, except that they had shrunk a little. The noise of bells went on, like a frantic concentration of the passage of time. The crowd thought more and more intensely of the train. It felt it coming, with another crowd inside it--a calm crowd, that had sucked its fill of speed and was sleeping like a well-fed baby. The old man was in torments, and to calm his fears kept looking at his neighbours. He no longer felt that the journey was arranging itself, stage by stage, from his cottage to his son's body, or that the means of transport were fitted together without any effort of his own and waiting to sweep him along like a stream. "Shall I ever get there?" he...

Nobody's Home is a bold view of the American novel from its beginnings to the contemporary scene. Focusing on some of the deepest instincts of American life and culture--individual liberty, freedom of speech, constructing a life--Arnold Weinstein brilliantly sketches the remarkable career of the American self in some of the major works of the past one hundred fifty years. Weinstein contends that American writers are haunted by the twin specters of the self as a mirage, as Nobody, and by the brutal forces of culture and ideology that deny selfhood to people on the basis of money, sex, and color of skin. His central thesis is that language makes possible freedoms and accomplishments that are achievable in no other realm, and that American fiction is a fascinating record of the human fight against coercion, of the kinds of maneuvering room that we may find in life and in art. This study is unique in several respects: it offers some of the keenest readings of major American texts that have ever been written, including some of the most significant works of the past decades, and it fashions a rich and supple view of the American novel as a writerly form of freedom, in sharp contrast to today's critical emphasis on blindness and co-option.

When the screams of innocents dying engulf you, how do you hear God's voice? Will God and God's people call you to life when your breath is being strangled out of you? For people of color living each day surrounded by violence, for whom survival is not a given, vocational discernment is more than "finding your purpose" - it's a matter of life and death. Patrick Reyes shares his story of how the community around him - his grandmother, robed clergy, educators, friends, and neighbors - saved him from gang life, abuse, and the economic and racial oppression that threatened to kill him before he ever reached adulthood. A story balancing the tension between pain and healing, Nobody Cries When We Die takes you to the places that make American society flinch, redefines what you are called to do with your life, and gives you strength to save lives and lead in your own community. Part of the FTE (Forum for Theological Exploration) Series

When Diane Sher Lutovich set out to attain closure of her mother's death she simultaneously discovered how other women address their losses. "Nobody's Child: How Older Women Say Good-bye to Their Mothers", in poetry and prose, tells the big and little stories of women who, having come of age during the feminist revolution, lived very different lives than their mothers. The author addresses the guilt a daughter feels when confronted by her mother's life choices, the loss of family history and a belated recognition of her mother's legacy. The voices are heard within these pages, giving occasion for the reader to learn about the multiplicity of feelings-including remorse, fear, frustration, compassion, and deep admiration-that many daughters experience at their mother's passing.

What happens when you lose your body? Jim True knows. He has returned from an out-of-body experience to find he has been brutally murdered and his body mutilated. No one can see him, no one can hear him, no one, except his killer, knows he still exists. Freed from his body, True embarks on a quest to find his killer and discover why and how he has managed to survive. As he closes in on his murderer, True discovers that even the very people he loved and trusted have betrayed him. He meets his killer, a strange and sinister figure who can also leave his body at will. In James Herbert's Nobody True, an epic and deadly battle ensues between True and a seemingly unstoppable and hideous serial killer – a man now intent on even more murders, including True's wife and child . . .