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Personnel Policies
Every office has one: the whore, the slacker, the saint, the sinner. The seven deadly sins and their corresponding virtues are evident everywhere, and the workplace is not immune.One spring night in Austin, Texas, the battle of good and evil continues at a company going away party for Steven Taylor, the new media director at The Idea Shack. For him, the night marks the end of his employment at the trendy advertising agency. For everyone else, the party becomes a confessional of biblical proportion.Personnel Policies is a story of friends, enemies, and lovers. A tale of sabotage and secrets, all the loose talk around the water cooler is either confirmed or proved untrue by the end of the evening. By the time Steven says his final farewells, all his questions about life at The Idea Shack will be resolved, and he doesn’t have to die to ask God for the answers.
The One Show
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The Alcalde
As the magazine of the Texas Exes, The Alcalde has united alumni and friends of The University of Texas at Austin for nearly 100 years. The Alcalde serves as an intellectual crossroads where UT's luminaries - artists, engineers, executives, musicians, attorneys, journalists, lawmakers, and professors among them - meet bimonthly to exchange ideas. Its pages also offer a place for Texas Exes to swap stories and share memories of Austin and their alma mater. The magazine's unique name is Spanish for "mayor" or "chief magistrate"; the nickname of the governor who signed UT into existence was "The Old Alcalde."
Latin America's New Historical Novel
Beginning with the 1979 publication of Alejo Carpentier's El arpa y la sombra, the New Historical Novel has become the dominant genre within Latin American fiction. In this at-times tongue-in-cheek postmodern study, Seymour Menton explores why the New Historical Novel has achieved such popularity and offers discerning readings of numerous works. Menton argues persuasively that the proximity of the Columbus Quincentennial triggered the rise of the New Historical Novel. After defining the historical novel in general, he identifies the distinguishing features of the New Historical Novel. Individual chapters delve deeply into such major works as Mario Vargas Llosa's La guerra del fin del mundo, Abel Posse's Los perros del paraíso, Gabriel García Márquez's El general en su laberinto, and Carlos Fuentes' La campaña. A chapter on the Jewish Latin American novel focuses on several works that deserve greater recognition, such as Pedro Orgambide's Aventuras de Edmund Ziller en tierras del Nuevo Mundo, Moacyr Scliar's A estranha nação de Rafael Mendes, and Angelina Muñiz's Tierra adentro.
Gentleman's Magazine
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