![]() ![]() ![]() McCann, an expert on modern Korean poetry, maintains the immediacy and richness of Sowol's work and shares with English-language readers the quiet beauty of a poet who continues to cast a powerful spell on generations of Korean readers. Available for the first time in English, Azaleas is a captivating collection of poems by a master of the early Korean modernist style. An essay by Sowol's mentor, the poet Kim Ok, concludes the collection and provides vital insight into Sowol's work and life. Although considered a landmark of Korean literature, Azaleas speaks to readers from all cultures. Told through an array of voices, the poems describe the young man's actions as he leaves home, his experiences as a student and writer in Seoul, and his return north. Azaleas recounts the journey of a young Korean as he travels from the northern P'yongyang area near to the cosmopolitan capital of Seoul. Sowol is also known for his unique and sometimes unsettling perspective, expressed through loneliness, longing, and a creative use of dream imagery-a reflection of Sowol's engagement with French Symbolist poetry. His work is a delightful and sophisticated blend of the images, tonalities, and rhythms of traditional Korean folk songs with surprisingly modern forms and themes. ![]() Published in 1925, Azaleas is the only collection Kim Sowol (1902-1934) produced during his brief life, yet he remains one of Korea's most belove. Available for the first time in English, Azaleas is a captivating collection of poems by a master of the early Korean modernist style. ![]()
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![]() These witches call upon the Virgin Mary to stand by whenever they invoke the power of the Serpent, and they eschew the ultimate sin of attempting to control humans. The closest Wicca’s queens of the night get to wickedness is hand wringing over their misunderstood sisters who were burnt at the stake. This benign rubric incorporates ancient Celtic pantheism (this is the only apparent reason for the setting, Ireland, because for all the local color the story could happen anywhere) but also the teachings of Saint Paul, Saint Augustine and Saint John of the Cross. ![]() After an initial trial (an overnight stay, alone, in the Magus’ woods) proves her worthy, Brida’s path toward witchy enlightenment leads her to another teacher, Wicca, who guides Brida through the tarot and a series of trances, immersing her in the eclectic ragout of bromides that is spirituality according to Coelho. ![]() The Magus immediately recognizes Brida as his Soul Mate, but since Brida is unschooled in the Tradition of the Moon, the feeling isn’t mutual. ![]() ![]() Twenty-one-year-old Brida seeks out the Magus, a wizard exiled to a forest, to learn magic. This true-to-life tale of Brida, a young Irish sorcerer’s apprentice whom Coelho met during a pilgrimage, was originally published in the author’s native Brazil shortly after his breakout work, The Alchemist (1988). New Age savant Coelho ( The Witch of Portobello, 2007, etc.) whitewashes witchcraft. ![]() ![]() Evie, for all her polish and her stony defenses, is just a poor girl who did what she could to make life for herself and her family better than what they were raised with. To say that a former courtesan and a Vicar would be an unusual pairing is an understatement, but I really felt it worked. Each stands alone beautifully, and I really like how Long weaves in characters from the past books, gives little details that will have fans of the series happy, but at the same time doesn’t make it hard to follow along for those just joining in. The great thing is – you don’t have to read them all or in any order to enjoy. Adam is related to the Eversea family that I’ve come to know and love in this series by Julie Anne Long. She falls asleep as the handsome Adam Sylvaine (aka the beloved Vicar) gives a most unusual sermon involving goats. ![]() Realizing she has no friends, and wanting only a simple, secure, happy life she settles in and prepares to battle the locals for a place among them. ![]() Now that the Earl has passed away, she is left with enough to support herself (though not extravagantly) and a home in Pennyroyal Green. A Notorious Countess Confesses by Julie Anne Long (Pennyroyal Green #7)įor years, nothing ever dented her she had shaped the world to suit her, as surely as though sh were a signet ring and the world sealing wax.Įvie, the Countess of Wareham – a notorious woman who raised herself up from humble Irish roots to becoming an actress, famed courtesan, and wife of an Earl. ![]() ![]() He glanced around, noticing that he was the only one who hadn’t crawled through the basement window yet. At the time, he swore he’d never go inside that scary old house, but here he was, all the same.Īre you coming, Trevor? one of the kids called. She told him that a man once burned to death in the house when he spontaneously combusted, and how his ghost still roamed the shadowed hallways. She talked about seeing faces at the windows and lights blinking off and on all during the night. He went to school with a girl who used to live next door. Nobody had lived in the house for as long as he could remember, but everybody knew about it. When he drove past it with his mother, he always glanced up at the dark windows, feeling like someone was watching him. ![]() The other kids wanted to break in and play a game of hide-and-seek. The boy stared up at the creepy old house, feeling a lump grow in his throat. ![]() ![]() The author addresses the plight of each Europe as a whole, instead of only one country. In The Great Mortality, author John Kelly lends an air of immediacy and intimacy to his telling of the journey of the plague as it traveled from the steppes of Russia, across Europe, and into England, killing 75 million peopleâ?one third of the known populationâ?before it va … ( more) ![]() Or to live in a society where the bonds of blood and sentiment and law have lost all meaning, where anyone can murder or rape or plunder anyone else without fear of consequence. Or to have to chose between your own life and your duty to a mortally ill child or spouse. ![]() But statistics can't convey what it was like to sit in Siena or Avignon and hear that a thousand people a day are dying two towns away. Many books on the plague rely on statistics to tell the story: how many people died how farm output and trade declined. ![]() The plague that devastated Asia and Europe in the 14th century has been of never-ending interest to both scholarly and general readers. ![]() The Great Plague is one of the most compelling events in human historyâ?even more so now, when the notion of plague has never loomed larger as a contemporary public concern. "Powerful, rich with details, moving, humane, and full of important lessons for an age when weapons of mass destruction are loose among us." â? Richard Rhodes, Pulitzer Prize-winning author of The Making of the Atomic Bomb ![]() ![]() ![]() Victory in battle does not ensure strategic or political success but defeat all but guarantees failure. Military excellence cannot guarantee strategic success. Military excellence can only be verified by performance in war. ![]() The impossible is impossible it is a condition not a problem for which a solution has yet to be found. All strategy is geostrategy geography is fundamental. Friction is unavoidable but need not be fatal. Time is the least forgiving dimension of strategy. The strategic Concept du Jour will be Tomorrow's stale left over until it is rediscovered recycled and revealed as a new truth. If thucydides sun tzu and Clausewitz did not say it it probably is not worth saying. Bad strategy kills but so also do bad policy and tactics. Strategy is more difficult than policy or tactics. Knowledge of strategy is vital the flame of strategic understanding has to be kept lit. Policy is king but often is ignorant of the nature and character of war. Reason reigns over war but passion and chance threaten to rule. Not only polities but societies and their cultures make war and peace. Peace and order are not self enforcing they have to be organized ad kept by somebody. War works but always has unintended and unanticipated consequences. It is more difficult to make peace than it is to make war. ![]() War is about peace and peace can be about war. Introduction getting the big things right enough. ![]() ![]() ![]() In 1889 Weber, now twenty-five, completed a doctoral dissertation on the history of trading companies in the Middle Ages, a formidable tome that straddled economic and legal history. He soon abandoned his youthful ways and embarked on a scholar’s path. Her first-born son had been named after his father, an esteemed deputy in the National Liberal Party, and he was expected to conduct himself with restraint. ![]() But for his mother, Max’s transformation was evidently too much. ![]() ![]() In German fraternities until the end of the nineteenth century, fencing remained a venerable tradition, a rite of manhood in which the contestants competed for ribbons that they wore on their ceremonial gowns while they sang patriotic songs and downed buckets of beer. Worst of all, he bore a dueling scar on his cheek. Gone was the lanky eighteen-year-old whose sagging shoulders made him, in the words of his future wife Marianne, a “candidate for consumption.” Thanks to nights of drinking with his fraternity, Max had gained considerable weight, and he had also run up a serious debt, compelling him to trouble his father with frequent entreaties for money. When the young Max Weber returned home in 1883 after his third semester as a law student at the University of Heidelberg, his mother slapped him. ![]() ![]() ![]() ![]() Michael Green, who wrote both previous Poirot movies, adapted this one from Christie's 1969 book Hallowe’en Party. When one of the guests is murdered, the detective is thrust into a sinister world of shadows and secrets. Now retired and living in self-imposed exile in the world’s most glamorous city, Poirot (along with his 'tache) reluctantly attends a séance at a decaying, haunted palazzo. ![]() Set in eerie, post-World War II Venice on All Hallows’ Eve, the story is described as a terrifying mystery. And with shooting scheduled to kick off soon, we know that Jamie Dornan, Tina Fey and Michelle Yeoh are among the ensemble.Īnd they're just the tip of the casting iceberg, as Branagh has organised a mini Belfast reunion, since Jude Hill, who played a character based on the director's own youthful experiences opposite Dornan as his father, is also aboard.Īlso among the new recruits? Kyle Allen, Camille Cottin, Ali Khan, Emma Laird, Kelly Reilly and Riccardo Scamarcio. Though Kenneth Branagh's last stab at Hercule Poirot, Death On The Nile, didn't exactly sail into the box office record books, he's been ready to jump back into the world of Agatha Christie for a while now. ![]() ![]() Klik op 'Cookies aanpassen' om deze cookies te weigeren, meer gedetailleerde keuzes te maken of voor meer informatie. ![]() Derde partijen gebruiken cookies om persoonlijke advertenties weer te geven en te meten, doelgroepinzichten te genereren en producten te ontwikkelen en te verbeteren. 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We gebruiken cookies en vergelijkbare tools die nodig zijn zodat je aankopen kan doen, en om je winkelervaringen te verbeteren en om onze diensten te leveren, zoals beschreven in onze Cookieverklaring. ![]() ![]() ![]() ![]() He was raised by his eldest sister, also named Ann, 21 years his senior. ![]() ![]() Lear was born into a middle-class family at Holloway, North London, the penultimate of 21 children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear, a stockbroker formerly working for the family sugar refining business. He also composed and published twelve musical settings of Tennyson's poetry. His principal areas of work as an artist were threefold: as a draughtsman employed to make illustrations of birds and animals making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books and as a (minor) illustrator of Alfred, Lord Tennyson's poems.Īs an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes and alphabets. The Book of Nonsense, The Owl and the PussycatĮdward Lear ( – 29 January 1888) was an English artist, illustrator, musician, author and poet, who is known mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. Children's literature, literary nonsense and limericks. ![]() |