Through The Sad Wood Our Corpses Will Hang

"At the age of twenty, Sheyda Porrouya's life is almost over. She was born in Iran on the day staunchly orthodox mullas declared the birth of the Islamic Republic and set about summarily purging the country of all things Western and un-Islamic. When the Regime shut down universities, Sheyda's father, who had been an ambitious law student, ended up as a load-lifter. To make matters worse, as she matured Sheyda seemed increasingly unable to distinguish between fairy tale and reality. She began to exhibit disturbing behavior. Her pious mother began to believe that her daughter was possessed and so, seeking a divine cure, she visited shrine after shrine. Almost everyone suspects that she is deranged, everyone except her lifelong therapist, Dr. Fereydoon, and a beautiful black-eyed cripple who lives next door. They don't think she's crazy, but they know she's not sane either. When Sheyda is accused of killing her mother, she is immediately jailed and sentenced to death by hanging. The narrative jumps back and forth from Sheyda's childhood to her current life in one of Iran's most notorious prisons, where she awaits either release or execution."--

This first volume of Robert Durling's new translation of The Divine Comedy brings a new power and accuracy to the rendering of Dante's extraordinary vision of Hell, with all its terror, pathos, and humor. Remarkably true to both the letter and spirit of this central work of Western literature, Durling's is a prose translation (the first to appear in twenty-five years), and is thus free of the exigencies of meter and rhyme that hamper recent verse translations. As Durling notes, "the closely literal style is a conscious effort to convey in part the nature of Dante's Italian, notoriously craggy and difficult even for Italians." Rigorously accurate as to meaning, it is both clear and supple, while preserving to an unparalleled degree the order and emphases of Dante's complex syntax. The Durling-Martinez Inferno is also user-friendly. The Italian text, newly edited, is printed on each verso page; the English mirrors it in such a way that readers can easily find themselves in relation to the original terza rima. Designed with the first-time reader of Dante in mind, the volume includes comprehensive notes and textual commentary by Martinez and Durling: both are life-long students of Dante and other medieval writers (their Purgatorio and Paradiso will appear next year). Their introduction is a small masterpiece of its kind in presenting lucidly and concisely the historical and conceptual background of the poem. Sixteen short essays are provided that offer new inquiry into such topics as the autobiographical nature of the poem, Dante's views on homosexuality, and the recurrent, problematic body analogy (Hell has a structure parallel to that of the human body). The extensive notes, containing much new material, explain the historical, literary, and doctrinal references, present what is known about the damned souls Dante meets --from the lovers who spend eternity in the whirlwind of their passion, to Count Ugolino, who perpetually gnaws at his enemy's skull--disentangle the vexed party politics of Guelfs and Ghibellines, illuminate difficult and disputed passages, and shed light on some of Dante's unresolved conflicts. Robert Turner's illustrations include detailed maps of Italy and several of its regions, clearly labeled diagrams of the cosmos and the structure of Hell, and eight line drawings illustrating objects and places mentioned in the poem. With its exceptionally high standard of typography and design, the Durling-Martinez Inferno offers readers a solid cornerstone for any home library. It will set the standard for years to come.

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Diabolical Quest (Doomed Cases Book 2) Maxine Brodeur is working hard to stay out of trouble these days, running her private detective agency with business partner Ricky and still drinking way too much tequila, until something from her past comes back to hunt her down. She is hired by an old friend Ronan to track down his son The Nameless Thief, a man that has managed to steal a private collection of royal letters that were left in Ronan’s possession. Unfortunately this only Royal correspondence that Nameless took from his father, he also obtained a letter that Max had written to Arthur, in which she revealed the whole truth about her disappearance from two years ago. The letter that she didn’t even know existed. From then on Max is sucked back into royal affairs, and must get to Nameless before he realises what he has in his possession. Pairing up once again teaming up with deliciously sexy detective Quinton. They will both face many ups and downs, trying to resist their explosive attraction, while the future King has his own agenda in mind. Will Max chose right man this time and will she be able to prevent her secret being exposed?

Her greatest downfall was getting involved with the Royals. Her only fear is that they discover her secret. Maxine Brodeur is working hard to stay out of trouble these days, running her paranormal private detective agency with business partner Ricky. But then the unthinkable happens. The Royals call on her again. She’s put that life behind, but now the past comes back to hunt her down. Surviving will require a sober head, and Maxine will have to fight her own demons to stay a step ahead. She’ll use her arsenal of demonic gifts to uncover the crimes, faceoff with the royal family who seeks more than obedience, but absolute servitude. Will Maxine find the strength to embrace her demonic magic, or allow the Royals to force her into a life of indentured service? There’s only one way out, and she’s doomed! The Doomed Cases series is recommended for fans of paranormal romance, fantasy, mystery, and demonic magic. This bundle includes:

Some of the greatest works of Western literature have been inspired or influenced by powerful Christian themes. In this fresh evaluation of this relationship and its development over the last two millennia, Ambrose Mong studies a series of authors representative of the changing epochs. Augustine, Dante and Milton all wrote to serve the needs of the Christian community, and combine their religious themes with scholarly excellence. Meanwhile Shakespeare’s plays and Coleridge’s The Rime of the Ancient Mariner, though not specific to the Christian faith, nevertheless betray the dominant Christian values and imagery of their time. Finally, in Dostoevsky’s The Brothers Karamazov and Greene’s The Power and the Glory, Christianity is put under scrutiny, reflecting the increasing insecurity of its place in society. Throughout, Mong also shows that the themes in these works are to a certain extent universal. Creation, sin, suffering and forgiveness are perennial human concerns, beyond the exclusive purview of Christianity, and these texts serve to challenge Christian assumptions as much as they are influenced by them. Always thorough and sensitive to the unique context of each writer, Mong’s analysis provides an important grounding in the way Western literature has shaped and been shaped by the religion of its day.

Nadia, the Narrator, is a school teacher in Bordeaux in the same school as her husband, Ange. They live their profession as apostolates and gain an authentic happiness. But for some time, the couple is the subject of a general, harassing and inexplicable vengeance by the students. Nobody wants to sit in the front row anymore; no one wants to hear the sounds of their voices; the children seem to be afraid of them... Nadia tries to understand the nature of this strange conspiracy through the movement of the story.

Impossible Modernism reads the writings of German philosopher and critic Walter Benjamin (1892–1940) and Anglo-American poet and critic T. S. Eliot (1888–1965) to examine the relationship between literary and historical form during the modernist period. It focuses particularly on how they both resisted the forms of narration established by nineteenth-century academic historians and turned instead to traditional literary devices—lyric, satire, anecdote, and allegory—to reimagine the forms that historical representation might take. Tracing the fraught relationship between poetry and history back to Aristotle's Poetics and forward to Nietzsche's Untimely Meditations, Robert S. Lehman establishes the coordinates of the intellectual-historical problem that Eliot and Benjamin inherited and offers an analysis of how they grappled with this legacy in their major works.