Transporting readers back in time, each Live It Again title showcases rare and exclusive photos, artwork, and cartoons from the every issue of the year's Saturday Evening Post A sentimental journey back in time with rare and exclusive images, ads, and comics, readers can look back in time at the "current" events from the 1940s and 1950s with this series of books. Good Old Days magazine and the Saturday Evening Post joined together to provide an incredible window into the past, exposing a vivid view of daily life from a long-ago era. With photos, illustrations, and cartoons directly taken from the Saturday Evening Post--many for the first time since they were originally published more than 65 years ago--each of these keepsakes encapsulate a slice of life as seen through the eyes of a typical American family.
Hugh Nance used to think his wife whined too much—his three kids were spoiled brats that took everything for granted. Hugh is ten years old. When an embittered, unremarkable forty-seven-year old man’s life is cut short on an icy highway, he receives the opportunity to try again. Hugh is taken back to 1974—back into the body of his boyhood—with all the memories of his middle-aged life in tow. Three and a half decades must be relived if he is to see his family again. The years have to be repeated carefully, or he may never be reunited with his future wife at all. The memory of his first family fades as this second life proceeds; old habits kick in, and Hugh scrambles near the end to set things right.
Will Self possesses one of the greatest literary imaginations of any writer working today. How the Dead Live is his most extraordinary book yet—a novel that will challenge, entertain, and truly astonish. Lily Bloom is an aging American transplanted to England who has lost her battle with cancer and lies wasting away at the Royal Ear Hospital. As her two daughters—lumpy Charlotte, who runs a hugely successful chain of stationery stores called Waste of Paper, and beautiful Natasha, a junkie—buzz around her and the nurses pump her full of morphine, Lily slides in and out of the present, taking us on a surreal, opinionated trip through the stages of a lifetime of lust and rage. A career girl in the 1940s, a sexed-up, tippling adulteress in the 1950s and ‘60s, a divorced PR flak in the 1970s and ‘80s, Lily presents us with a portrait of America and England over sixty years of riotous and unreal change. And then it’s over: Lily catches a cab with the aboriginal wizard Phar Lap Jones, her guide to the shockingly banal world of the dead. It’s a world that is surreal but familiar, where she again works in PR and rediscovers how great smoking is, where her cohabitants include Rude Boy, the son who died at age nine and now swears a blue streak, and three eyeless, murmuring wraiths, the Fats—composed of the pounds, literally the whole selves, she lost and gained over her lifetime. As Lily settles into her nonexistence, the most difficult challenge for this staunchly difficult woman is how to understand that she’s dead, and how to leave the rest behind. How the Dead Live is an unforgettable portrait of the human condition, the struggle with life and with death. It’s a novel that will disturb and provoke, the work, in the words of one British reviewer, “of a novelist writing at the height of his powers.”
Palestinian Amal Rifa'i and Israeli Odelia Ainbinder are two teenage girls who live in the same city, yet worlds apart. They met on a student exchange program to Switzerland. Weeks after they returned, the latest, violent Intifada broke out in the fall of 2000. But two years later, Middle East correspondent Sylke Tempel encouraged Amal and Odelia to develop their friendship by facilitating an exchange of their deepest feelings through letters. In their letters, Amal and Odelia discuss the Intifada, their families, traditions, suicide bombers, and military service. They write frankly of their anger, frustrations, and fear, but also of their hopes and dreams for a brighter future. Together, Amal and Odelia give us a renewed sense of hope for peace in the Middle East, in We Just Want To Live Here.
Since its founding by Jacques Waardenburg in 1971, Religion and Reason has been a leading forum for contributions on theories, theoretical issues and agendas related to the phenomenon and the study of religion. Topics include (among others) category formation, comparison, ethnophilosophy, hermeneutics, methodology, myth, phenomenology, philosophy of science, scientific atheism, structuralism, and theories of religion. From time to time the series publishes volumes that map the state of the art and the history of the discipline.
Much criticism has been directed at negative stereotypes of Appalachia perpetuated by movies, television shows, and news media. Books, on the other hand, often draw enthusiastic praise for their celebration of the simplicity and authenticity of the Appalachian region. Dear Appalachia: Readers, Identity, and Popular Fiction since 1878 employs the innovative new strategy of examining fan mail, reviews, and readers' geographic affiliations to understand how readers have imagined the region and what purposes these imagined geographies have served for them. As Emily Satterwhite traces the changing visions of Appalachia across the decades, from the Gilded Age (1865--1895) to the present, she finds that every generation has produced an audience hungry for a romantic version of Appalachia. According to Satterwhite, best-selling fiction has portrayed Appalachia as a distinctive place apart from the mainstream United States, has offered cosmopolitan white readers a sense of identity and community, and has engendered feelings of national and cultural pride. Thanks in part to readers' faith in authors as authentic representatives of the regions they write about, Satterwhite argues, regional fiction often plays a role in creating and affirming regional identity. By mapping the geographic locations of fans, Dear Appalachia demonstrates that mobile white readers in particular, including regional elites, have idealized Appalachia as rooted, static, and protected from commercial society in order to reassure themselves that there remains an "authentic" America untouched by global currents. Investigating texts such as John Fox Jr.'s The Trail of the Lonesome Pine (1908), Harriette Arnow's The Dollmaker (1954), James Dickey's Deliverance (1970), and Charles Frazier's Cold Mountain (1997), Dear Appalachia moves beyond traditional studies of regional fiction to document the functions of these narratives in the lives of readers, revealing not only what people have thought about Appalachia, but why.