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Stranded in a blizzard atop a treacherous ridge, badly injured, and quickly bleeding out, Ishikura knows he is about to die. But before he does, he decides to unburden his soul by telling his companion Asai a dark secret that has been weighing on him for years. No sooner do the words cross Ishikura's lips, however, than Asai stumbles upon the shelter they'd been searching for-only to realize his friend's confession has changed everything-and the brutal elements may no longer be the deadliest threat around.
"Everything is contradictory," Hegel declares in Science of Logic. In this analysis of one of the most difficult and neglected topics in Hegelian studies, Songsuk Susan Hahn tackles the status of contradiction in Hegel's thought. Properly philosophical thinking in the Hegelian mode recognizes that contradiction pervades all organic forms of life. Contradiction in Motion presents Hegel's doctrine of contradiction, once widely dismissed, as one deserving serious consideration. The book argues that contradiction is not a sign of error or incoherence, but rather plays an important role in the development of Hegel's system. The first part of the book sets up Hegel's logic of organic wholes in suc...
A collection of poems by Susan Hahn that use the image of the ibis to explore a wide range of topics, including slavery, ancient Egypt, individuality, and courage.
Cornelia Hahn Oberlander is one of the most important landscape architects of the twentieth century, yet despite her lasting influence, few outside the field know her name. Her work has been instrumental in the development of the late-twentieth-century design ethic, and her early years working with architectural luminaries such as Louis Kahn and Dan Kiley prepared her to bring a truly modern—and audaciously abstract—sensibility to the landscape design tradition. In Cornelia Hahn Oberlander: Making the Modern Landscape, Susan Herrington draws upon archival research, site analyses, and numerous interviews with Oberlander and her collaborators to offer the first biography of this adventurou...
Multi-volume history of American literature.
Twelve-year-old Molly and her ten-year-old brother, Michael, have never liked their seven-year-old stepsister, Heather. Ever since their parents got married, she's made Molly and Michael's life miserable. Now their parents have moved them all to the country to live in a house that used to be a church, with a cemetery in the backyard. If that's not bad enough, Heather starts talking to a ghost named Helen and warning Molly and Michael that Helen is coming for them. Molly feels certain Heather is in some kind of danger, but every time she tries to help, Heather twists things around to get her into trouble. It seems as if things can't get any worse. But they do—when Helen comes.
Drawing on history, myth, folk rhymes, human physiology, and the psyche's crevices, Susan Hahn's Self/Pity is a relentless journey of the self through time, into the labyrinth of the present with its own stimuli and despairs. She strikes a delicate balance of contrast and collision between the various linked poems in this collection, which all deal with birth, the body, and the soul. As with her previous collections, the poems in Self/Pity can be read as a cohesive whole. From the simple prayer "To Jacob Four Months In The Womb" to the complex territory of the poem sequence "The Pornography of Pity," in which Mother Goose, the Marquis de Sade, Godot, Lewis Carroll's Alice, The Cat and the Fiddle, Zeus, and many others are called upon, Hahn creates a tour-de-force exploration of the book's central themes.
#1 New York Times Bestseller Edith Hahn was an outspoken young woman in Vienna when the Gestapo forced her into a ghetto and then into a slave labor camp. When she returned home months later, she knew she would become a hunted woman and went underground. With the help of a Christian friend, she emerged in Munich as Grete Denner. There she met Werner Vetter, a Nazi Party member who fell in love with her. Despite Edith's protests and even her eventual confession that she was Jewish, he married her and kept her identity a secret. In wrenching detail, Edith recalls a life of constant, almost paralyzing fear. She tells how German officials casually questioned the lineage of her parents; how durin...
The uncontested center of the black pulp fiction universe for more than four decades was the Los Angeles publisher Holloway House. From the late 1960s until it closed in 2008, Holloway House specialized in cheap paperbacks with page-turning narratives featuring black protagonists in crime stories, conspiracy thrillers, prison novels, and Westerns. From Iceberg Slim’s Pimp to Donald Goines’s Never Die Alone, the thread that tied all of these books together—and made them distinct from the majority of American pulp—was an unfailing veneration of black masculinity. Zeroing in on Holloway House, Street Players explores how this world of black pulp fiction was produced, received, and recre...
This extraordinary celebration of the poet's craft opens the attentive reader's heart to the world of the spirit. Author/compilers Judith Valente and Charles Reynard, noted poets themselves, share elected poems that probe the classic themes of the spiritual life.