Unspeakable Love

Homosexuality is a taboo subject in the Arab world. While cleri denounce it as a heinous sin, newspapers write cryptically of 'shameful acts' and 'deviant behaviour'. Amid the calls for reform in the Middle East, homosexuality is one issue that almost everyone in the region would prefer to ignore. In this absorbing account, Guardian journalist Brian Whitaker calls attention to the voices of men and women who are struggling with gay identities in societies where they are marginalized and persecuted by the authorities. He paints a disturbing picture of people who live secretive, fearful lives and who are often jailed, beaten, and ostracized by their families, or sent to be 'cured' by psychiatrists. Deeply informed and engagingly written, Unspeakable Love reveals that -- while deeply repressive prejudices and stereotypes still govern much thinking about homosexuality -- there are pockets of change and tolerance. Unspeakable Love was shortlisted for the Lambda Literary Award in 2006. This updated edition includes new material covering developments since the book's first publication. 'A must-read for anyone who believes in human rights' Rabih Alameddine 'Masterful -- incredibly balanced and thoughtful' Ben Summerskill 'Anyone interested in reform in the Arab world must read this book' Mai Yamani 'Wise and compassionate' Guardian 'Groundbreaking' Daily Star Lebanon 'Never before has such a comprehensive study of gay civil rights been published' The Middle East Gay Journal 'Boldly delves into one of the biggest taboos in modern Muslim societies with subtlety and sensitivity' Globe and Mail

Shortlisted for The Green Carnation Prize 2014 'This is not a fairytale. This is a story about how sex and money and power police our dreams.' Clear-eyed, witty and irreverent, Laurie Penny is as ruthless in her dissection of modern feminism and class politics as she is in discussing her own experiences in journalism, activism and underground culture. This is a book about poverty and prejudice, online dating and eating disorders, riots in the streets and lies on the television. The backlash is on against sexual freedom for men and women and social justice – and feminism needs to get braver. Penny speaks for a new feminism that takes no prisoners, a feminism that is about justice and equality, but also about freedom for all. It's about the freedom to be who we are, to love who we choose, to invent new gender roles, and to speak out fiercely against those who would deny us those rights. It is a book that gives the silenced a voice – a voice that speaks of unspeakable things.

Here's why I wrote this little book of love poems. What I have wanted most in this life is a love that will never leave. And I realized that maybe I hadn't met with a love like that outside of me, in someone else, because I hadn't met an unfaltering love from within me. So I decided I would retreat for 40 days with my red pen to try to tether together the small-ego-everyday-me to the me that's a lighthouse-type-of-soul, the me that's just undiluted love. I wanted to anchor once and for all into the love that's within me, to a love that could never leave because it's the truth of who I am. Whether I'm with a partner or alone, I wanted to feel free- entirely my own- an Ouroboros whose love circles back into herself.This book is one-part sutras, one-part love poems, and one-part psychic twine. They tell my whole truth. They reveal my ardor for the divine. They unite the masculine, manly aspects of me with the womanly, feminine aspects of me that I have sought to balance. They reconcile body and soul, human and divine, animal and angel, light and the dark, or basically- all that we can be conscious of containing. What I didn't realize until after I wrote this book is that there's an ancient Tantric text called the Vijnana Bhairava Tantra, which is translated as something like "the terror and joy of realizing oneness with the soul." It contains a poetic dialogue between the divine feminine and the divine masculine, between Shiva and Shakti, but in the case of this book it's more like a sacred back and forth between Jesus Christ and Mary Magdalene. Ultimately, this book is a collection of love letters to and from my own soul.The Sutras of Unspeakable Joy are the 40 days I devoted to ending a pattern of thinking that love, true and unwavering, was something I would meet outside of me. It's a poetic conversation between the side of me that keeps forgetting that the deepest source of love comes from the divine and can only be met from within. And that side of me that is that love, completely, utterly, fully. And what I did by devoting these 40 days to trying with words to realize oneness with the soul- is that I embodied the truth I have always taught. That love is what we are, not what we find- that true love is here- within us. And, that no cathedral can ever compare to the massive spirit in the messy sinews of this human heart.

This collection gathers new essays by critics and scholars who are currently reshaping our sense of the function and nature of seventeenth-century poetry. Contributors return to the New Critical canon of Renaissance poetry with fresh perspectives that emphasize considerations of gender, ideology, power, and language. In the first group of essays, David Norbrook, Annabel Patterson, John Guillory, Rosemary Kegl, and Stephen Orgel explore the various ways in which a text can be "political." Next, Arthur Marotti, Jane Tylus, and Jonathan Goldberg consider the circumstances of textual production and reception in the seventeenth century. Finally, Stanley Fish, Gordon Braden, Michael C. Schoenfeldt, and Maureen Quilligan discuss the particular forms of anxiety that result when seventeenth-century poets modify the traditional rhetoric of sexual desire to serve what seem to be erotic or religious purposes. These essays, accompanied by an extensive editors' introduction, intersect less in their shared enthusiasm for particular authors or interpretative methods than in a common interest in particular critical issues. They present the most exciting work by critics redefining Renaissance studies.

Megan doesn't speak. She hasn't spoken in months. Pushing away the people she cares about is just a small price to pay. Because there are things locked inside Megan's head - things that are screaming to be heard - that she cannot, must not, let out. Then Jasmine starts at school: bubbly, beautiful, talkative Jasmine. And for reasons Megan can't quite understand, life starts to look a bit brighter. Megan would love to speak again, and it seems like Jasmine might be the answer. But if she finds her voice, will she lose everything else?

On her first voyage as a stewardess aboard the Empress of Ireland, Ellie is drawn to the solitary fire stoker who stands by the ship’s rail late at night, often writing in a journal. Jim. Ellie finds it hard to think of his name now. After their wonderful time in Quebec City, that awful night happened. The screams, the bodies, the frigid waters … she tries hard to tell herself that he survived, but it’s hard to believe when so many didn’t. So when Wyatt Steele, journalist at The New York Times asks her for her story, Ellie refuses. But when he shows her Jim’s journal, she jumps at the chance to be able to read it herself, to find some trace of the man she had fallen in love with, or perhaps a clue to what happened to him. There’s only one catch: she will have to tell her story to Steele and he’ll “pay” her by giving her the journal, one page at a time.