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The LAST STANZA - An Anthology of Poems from Tel Aviv is the first book from StanzAviv, a creative collective of writers associated with Bar Ilan University and Tel Aviv University. STANZA members (or ‘Stanzites’) come from Israel, USA, UK, France, Canada, Latvia and beyond. Israel is a dramatic place and the poetry in this selection is humorous, political, tragic and inspiring. Topics range from seeking refuge, travelling in Africa, war, love, meditations on existence, being Jewish at Christmas, internet banking, waking up drunk on a riverside and more. Most poems in this ‘Stanzology’ are in English, plus there is a section in Hebrew. All profits from this book go to the ARDC (African Refugee Development Center), an NGO in south Tel Aviv that provides shelter, education, counseling and advice to refugees and asylum seekers in Israel.
Dadaist poet TZ is troubled by a bad dream in Zurich, 1917. Jesus arrives in post-9/11 London without his luggage and tries to survive just 24 hours as an alien. Bob Dukhovny fights to get his 88,133-word Holocaust novel published. And Tom Zimmerman shuffles in and out of reality in a Tel Aviv office. Lonely Planet author Dan Savery Raz creates tales of alienation and displacement in 'Dada is Zed' - a collection of short stories set in Tel Aviv, London and Elsewhere. Aside from the title story, the collection includes 'Shuffle', 'The Guilt of Gindi', 'Lost Luggage', 'Homeless' and 'Rejecting Rejection'.
The QWERTY MAN is a dystopian comedy set in a world where all digital words cost money. Global chaos ensues when the keyword 'God' is released for sale. In the not-so-distant future of 2034, every word typed, swiped, copied or pasted on any device costs a fee and can be traded on the global marketplace. This is the world created by the all-powerful Zach Webman, CEO and founder of Qwertex (Quantitative Word & Expression Trading Index). When Qwertex releases the rights to the keyword 'God' for auction, it kicks off a multi-billion dollar bitter bidding war. The Saudi Prince, the US President, the Pope and the world's most powerful CEOs will do whatever it takes to win 'God'. Amidst the turmoil...
The QWERTY MAN is a dystopian comedy set in a world where all digital words cost money. Global chaos ensues when the keyword 'God' is released for sale. In the not-so-distant future of 2034, every word typed, swiped, copied or pasted on any device costs a fee and can be traded on the global marketplace. This is the world created by the all-powerful Zach Webman, CEO and founder of Qwertex (Quantitative Word & Expression Trading Index). When Qwertex releases the rights to the keyword ‘God’ for auction, it kicks off a multi-billion dollar bitter bidding war. The Saudi Prince, the US President, the Pope and the world’s most powerful CEOs will do whatever it takes to win ‘God’. Amidst t...
Goldin thus begins the book by asking the basic question "What are we reading?" while also considering why it has been so rarely asked. Yet far from denigrating Chinese philosophy, he argues that liberating these texts from the mythic idea that they are the product of a single great mind only improves our understanding and appreciation. By no means does a text require single and undisputed authorship to be meaningful; nor is historicism the only legitimate interpretive stance. The first chapter takes up a hallmark of Chinese philosophy that demands a Western reader's cognizance: its preference for non-deductive argumentation. Chinese philosophy is an art (hence the title) he demonstrates, more than it is a rigorous logical method. Then comes the core of the book, eight chapters devoted to the eight philosophical texts divided into three parts: Philosophy of Heaven, Philosophy of the Way, and Two Titans at the End of an Age. .
No detailed study of Old English poems surviving in multiple (two or more) contemporary manuscripts has yet been published, in spite of a recognition as early as 1946 (by Kenneth Sisam) of the potential value of a monograph comparing the various versions of these poems. This book fills that gap. Of some 185 extant Old English poems or fragments, twenty are preserved, either wholly or in part, in multiple manuscript versions, involving a total overlap of about 679 verse-lines (2.2% of the total surviving poetic corpus of 30,535 lines). The various versions of each poem are here compared in close detail with a view to discovering as much as possible about the influences to which Old English po...
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