They Call Me Naughty Lola

I've divorced better men than you. And worn more expensive shoes than these. So don't think placing this ad is the biggest comedown I've ever had to make. Sensitive F, 34. Employed in publishing? Me too. Stay the hell away. Man on the inside seeks woman on the outside who likes milling around hospitals guessing the illnesses of out-patients. 30-35. Leeds. They Call Me Naughty Lola is a testament to the creativity and humor that can still be found among men and women longing for love and allergic to the concepts of Internet and speed dating. Here is an irresistible collection of the most brilliant and often absurd personal ads from the world's funniest -- and most erudite -- lonely-hearts column. The ads have been called "surreal haikus of the heart," and in an age of false advertising, the men and women who write them are hindered neither by high expectations nor by positivism of any kind. And yet, while hopes of finding a suitable mate remain low, the column has produced a handful of marriages, many friendships, and at least one divorce. Here are the young, old, fat, bald, healthy, ill, rich, and poor hoping that they can find true love, or at the very least, someone to call them Naughty Lola.

Since 1998, the world's most erudite readers have congregated in the small ads section of the London Review of Books in the hope of finding love. This text brings together the work of the 'edgy', the 'irascible' and the 'flatulent' to provide a glimpse into the most notorious, endearing and funny lonely hearts ads.

Straight from British shores, here is another dose of love, or the lack of it, from the pages of the London Review of Books. The editor of They Call Me Naughty Lola has cooked up yet another irresistible collection of brilliant, bawdy and often absurd personal ads from the world's funniest, and smartest, lonely-hearts column. These ads prove that even if you're lonely, you don't have to be boring, as advertisers in this book demand much more than long walks on the beach and candlelit dinners from their potential mates. Arranged by theme ('The Usual Hyperbole and a Whiff of Playful Narcissism'), and including footnotes to obscure references, Sexually, I'm More of a Switzerland promises to be 'a naughty treat' (Entertainment Weekly).

Quill and Cross in the Borderlands examines nearly four hundred years of history, folklore, literature, and art concerning the seventeenth-century Spanish nun and writer Sor María de Jesús de Ágreda, identified as the legendary “Lady in Blue” who miraculously appeared to tribes in colonial-era New Mexico and taught them the rudiments of the Catholic faith. Sor María, an author of mystical Marian works, became renowned not only for her alleged spiritual travel from her cloister in Spain to the New World, but also for her writing, studied and implemented by Franciscans on both sides of the ocean. Working from original historical accounts, archival research, and a wealth of literature on the legend and the historical figure alike, Anna M. Nogar meticulously examines how and why the legend and the person became intertwined in Catholic consciousness and social praxis. In addition to the influence of the narrative of the Lady in Blue in colonial Mexico, Nogar addresses Sor María’s importance as an author of spiritual texts that influenced many spheres of New Spanish and Spanish society. Quill and Cross in the Borderlands focuses on the reading and interpretation of her works, especially in New Spain, where they were widely printed and disseminated. Over time, in the developing folklore of the Indo-Hispano populations of the present-day U.S. Southwest and the borderlands, the historical Sor María and her writings virtually disappeared from view, and the Lady in Blue became a prominent folk figure, appearing in folk stories and popular histories. These folk accounts drew the Lady in Blue into the present day, where she appears in artwork, literature, theater, and public ritual. Nogar’s examination of these contemporary renderings leads to a reconsideration of the ambiguities that lie at the heart of the narrative. Quill and Cross in the Borderlands documents the material legacy of a legend that has survived and thrived for hundreds of years, and at the same time rediscovers the historical basis of a hidden writer. This book will interest scholars and researchers of colonial Latin American literature, early modern women writers, folklore and ethnopoetics, and Mexican American cultural studies.

When his cover is blown, former Berlin bull and unwilling SS officer Bernie Gunther must re-enter a cat-and-mouse game that continues to shadow his life a decade after Germany’s defeat in World War 2... The French Riviera, 1956: Bernie’s old and dangerous adversary Erich Mielke, deputy head of the East German Stasi, has turned up in Nice—and he’s not on holiday. Mielke is calling in a debt and wants Bernie to travel to London to poison a female agent they’ve both had dealings with. But Bernie isn't keen on assassinating anyone. In an attempt to dodge his Stasi handler—former Kripo comrade Friedrich Korsch—Bernie bolts for the German border. Traveling by night and hiding by day, he has plenty of time to recall the last case he and Korsch worked together... Obersalzberg, Germany, 1939: A low-level bureaucrat has been found dead at Hitler’s mountaintop retreat in Bavaria. Bernie and Korsch have one week to find the killer before the leader of the Third Reich arrives to celebrate his fiftieth birthday. Bernie knows it would mean disaster if Hitler discovers a shocking murder has been committed on the terrace of his own home. But Obersalzberg is also home to an elite Nazi community, meaning an even bigger disaster for Bernie if his investigation takes aim at one of the party’s higher-ups... 1939 and 1956: two different eras about to converge in an explosion Bernie Gunther will never forget.

Josef von Sternberg's 1930 film The Blue Angel (Der blaue Engel) is among the best known films of the Weimar Republic (1919-1933). A significant landmark as one of Germany's first major sound films, it is known primarily for launching Marlene Dietrich into Hollywood stardom and for initiating the mythic pairing of the Austrian-born American director von Sternberg with the star performer Dietrich. This fascinating cultural history of The Blue Angel provides a new interpretive framework with which to approach this classic Weimar film and suggests that discourses on mass and high culture are integral to the film's thematic and narrative structure. These discourses surface above all in the relationship between the two main characters, the cabaret entertainer Lola Lola (Marlene Dietrich) and the high school teacher Immanuel Rath (one-time Oscar winner Emil Jannings). In addition to offering insight into some of the major debates that informed the Weimar Republic, this book demonstrates that similar issues continue to shape the contemporary cultural landscape of Germany. Barbara Kosta thus also looks at Dietrich as a contemporary cultural icon and at her symbolic value since German unification and at Lola Lola's various "incarnations."

A woman carries a placard bearing the question “Are you content to be nothing?” as she conducts her way through the interconnected stories of this thought-provoking collection. A pianist herself, eventually she’ll be the soloist in her own story, but first we’ll encounter the contrapuntal lines of “Café Society”, the discord of “The Companion’s Tale”, the slowly evolving dark harmonic resolution of “Aquarium”. These are the songs of people – many of them seniors – sidelined and dismissed, but refusing to go gently into that good night – a night that isn’t even on their concert program! Be it through a percussive storm of revelation, or a quietly insistent ostinato that won’t be ignored, this is an orchestra of characters never content to be nothing, determined to be heard.