Narration Of Love At 17 1

Seyoung is an ordinary 17-year-old schoolgirl who plays mediocre roles in her school's drama productions. Her real-life drama develops as she finds herself falling for her childhood playmate Hyunwoo, who is drifting away from her and toward a TV star schoolmate name Hyemi. When Seyoung works up the nerve to profess her feelings to Hyunwoo, he thinks she's merely working on her acting! Seyoung lives out her youth as if the entire world is a stage, but as she basks in the bright lights of innocence she seeks someone in the audience to recognize the light with her.

Seventeen-year-old Saeyoung has an unrequited crush on her friend Hyunwoo, her rival Haemi just got a part on television, and, although she loves drama, she has yet to get a role in any of her school's productions.

“A beautifully written and well-researched cultural criticism as well as an honest memoir” (Los Angeles Review of Books) from the author of the popular New York Times essay, “To Fall in Love with Anyone, Do This,” explores the romantic myths we create and explains how they limit our ability to achieve and sustain intimacy. What really makes love last? Does love ever work the way we say it does in movies and books and Facebook posts? Or does obsessing over those love stories hurt our real-life relationships? When her parents divorced after a twenty-eight year marriage and her own ten-year relationship ended, those were the questions that Mandy Len Catron wanted to answer. In a series of candid, vulnerable, and wise essays that takes a closer look at what it means to love someone, be loved, and how we present our love to the world, “Catron melds science and emotion beautifully into a thoughtful and thought-provoking meditation” (Bookpage). She delves back to 1944, when her grandparents met in a coal mining town in Appalachia, to her own dating life as a professor in Vancouver. She uses biologists’ research into dopamine triggers to ask whether the need to love is an innate human drive. She uses literary theory to show why we prefer certain kinds of love stories. She urges us to question the unwritten scripts we follow in relationships and looks into where those scripts come from. And she tells the story of how she decided to test an experiment that she’d read about—where the goal was to create intimacy between strangers using a list of thirty-six questions—and ended up in the surreal situation of having millions of people following her brand-new relationship. “Perfect fodder for the romantic and the cynic in all of us” (Booklist), How to Fall in Love with Anyone flips the script on love. “Clear-eyed and full of heart, it is mandatory reading for anyone coping with—or curious about—the challenges of contemporary courtship” (The Toronto Star).

At six years of age, the orphaned Windwalker, a.k.a., "Walker", is given to LDS Placement Services by the Navajo Indian tribe to be placed with an adoptive LDS family. In the loving and Christ-centered environment his foster home provides, Walker matures physically, mentally, and spiritually. As the years pass and Walker turns fifteen, he and his foster family anxiously await the necessary tribal consent for his adoption to take place. During this time Walker has a vision in which he sees himself entrusted with the responsibility of getting an urgent message to his people. He is to tell them that they will not become a great nation until they lay down the false traditions of their fathers and take up the true traditions of the ancient ones. As Walker prepares mentally and spiritually for his mission and for the long-awaited adoption, he is unaware of the forces working against him and his family to prevent the adoption. When Walker finds out who is responsible, he puts together a diabolical plan to get revenge. With a hate-filled heart and his vision all but forgotten, he executes his plan and his life spirals out of control. When Walker discovers he is dying, he knows he has reached the point of no return. He is grief-stricken as he realizes that he has failed not only God, but his beloved family and his people. He is afraid there is no hope for him either in this life or in the next so he goes to live alone on a mesa to pray for forgiveness and to await his impending death. Can Walker ever be forgiven for what he has done? Will Walker's urgent message to his people ever be delivered?

Jim Fowler has cast the entire Christian message into a dramatic form with seven acts. Beginning in the inner sanctum of the loving interactions of Father, Son and Holy Spirit, the drama procedes to consider the creation of the angelic and human orders, the fall of man, the redemptive and restorative acts of Jesus Christ, spiritual regeneration and eternal life.

Exploring how the Bloomsbury Group's cutting-edge thinkers-Virginia Woolf, Sigmund Freud, and E. M. Forster-understood the intimacy of friends, lovers, spouses, and families as historically unfolding phenomena, this book offers a compelling account of modernism's legacies in contemporary fiction and demonstrates the myriad ways in which intimacy was a guiding and persistent idea explored by writers across the 20th-century and up to the present day. Often modernists have been celebrated for their insights into social and civilizational sickness but this book unearths a strain of modernist thought that is more complex and inspiring than this. It discusses how Bloomsbury's thinkers wrestled with the question “Does intimate life improve?” as sexual egalitarianism expands, as taboos against same-sex love, interracial love, and singlehood wane, and as parents and children relate less formally and often more warmly toward one another. And it discusses how many of today's major novelists, such as Salman Rushdie, Zadie Smith, Ian McEwan and Rachel Cusk, look to Bloomsbury's thematic and formal examples when they reformulate this question for our time.

No other book of the New Testament has attracted as much attention from commentators as the Fourth Gospel. It has stirred minds, hearts, and imaginations from Christianity's earliest days. In The Gospel of John, Francis Moloney unfolds the identifiable "point of view" of this unique Gospel narrative and offers readers, heirs to its rich and widely varied interpretative traditions, relevance for their lives today. The Gospel of John's significance for Christianity has been obvious from the time of Irenaeus. It was also fundamental in the emergence of Christian theology, especially in the trinitarian and christological debates that produced the great ecumenical Councils, from Nicaea to Chalcedon. What sets this commentary on the Fourth Gospel apart from others is Moloney's particular attention to the narrative design of the Gospel story. He traces the impact the Johannine form of the Jesus story has made on readers and explicates the way in which the author has told the story of Jesus. Through this he demonstrates how the Gospel story articulates a coherent theology, christology, and ecclesiology.

In Love and Narrative Form in Toni Morrison’s Later Novels, Jean Wyatt explores the interaction among ideas of love, narrative innovation, and reader response in Toni Morrison’s seven later novels. Love comes in a new and surprising shape in each of the later novels; for example, Love presents it as the deep friendship between little girls; in Home it acts as a disruptive force producing deep changes in subjectivity; and in Jazz it becomes something one innovates and recreates each moment—like jazz itself. Each novel’s unconventional idea of love requires a new experimental narrative form. Wyatt analyzes the stylistic and structural innovations of each novel, showing how disturbances in narrative chronology, surprise endings, and gaps mirror the dislocated temporality and distorted emotional responses of the novels’ troubled characters and demand that the reader situate the present-day problems of the characters in relation to a traumatic African American past. The narrative surprises and gaps require the reader to become an active participant in making meaning. And the texts’ complex narrative strategies draw out the reader’s convictions about love, about gender, about race—and then prompt the reader to reexamine them, so that reading becomes an active ethical dialogue between text and reader. Wyatt uses psychoanalytic concepts to analyze Morrison’s narrative structures and how they work on readers. Love and Narrative Form devotes a chapter to each of Morrison’s later novels: Beloved, Jazz, Paradise, Love, A Mercy, Home, and God Help the Child.