Dilius en sa tête, ayant eu un rêve opiniâtreS'était juré de confronter toutes les trêvesPour donner une autre dimension à son existence.Il voulut mettre à l'épreuve la ProvidenceSous d'autres cieux, bravant d'autres hommesSe frottant à une toute autre réalité.Notre bonhomme s'en allait gaiementGoûtant ainsi son extase mais voici que le malheurFidèle à son rendez-vous étale sa perfide noirceurSur le paysage enchanteur de ses espérances.Son rêve est éclaboussé en mille et une regrettables circonstancesLe rêve tomba, comme de Perrette, le pot au laitEt dans la chute de son rêve sa dignité d'homme s'émietta.Tout est perdu dans le sillage méchant d'un quotidien banalDepuis sa citoyenneté jusqu' à son désir de goûter au bonheur.Il n'y a que son Haïtienneté, héritage moqueur, qui demeureUn patrimoine pas souvent attrayant, mais qui jamais ne meurt.

The September 11 attacks were indeed one of the bloodiest and the most heartrending episodes that have lined Human History's landscape. Among its most remarkable damages, the crumbling of the two famous buildings that came to be known as the Twin Towers - despite of its purely materialistic significance, is rather insignificant compared to the human loss and the moral disenchantment - has drawn on particular characteristics in terms of its expression.

The Hierarchy of Human Sufferings or the poetic anatomy of grand scale anguishes ambitions to be a succinct but exhaustive account about humankind's great pains and the great calamities - divine, natural or man-made - that periodically provoke them. Succinct by its sheer volume, exhaustive by its arguments and criteria of reflections to which the author refers in its development. The events utilized by the author are intermittently pulled out of the biblical and secular vast reservoirs. Thus, the arguments are worthy and at the height of the author's ambition to be able to convince the reader that when our calamities are not from nature or man-made, they are evidently self-inflicted owing it to the concept that we often are the artisans of our own sufferings. Do not miss to read"The Hierarchy of Human Sufferings." Make it your next bedside book.

A Ladder to the Stars is a fictitious work in the category of Children literature. It is an amazing story all kids will either enjoy reading or listening its reading by someone. It is enjoyable and is intended to provide a solid moral lesson to readers of all ages, principally children. The story intends to inculcate that patience, motivation, friendship, perseverance are at the basis of all success associated with human undertakings.

Essay on the rise to power of Michel Joseph Martelly, President of Haiti from May 2011 until February 2016. His administration was fraught with corruption, continual street protests and repeated stalled elections for his successor. He is also one of Haiti's best-known popular contemporary musicians, known by the stage name of "Sweet Micky." He is known for his compas music, a style of Haitian dance music sung predominantly in the Haitian Creole language, but he blended this with other styles.

The Antinomies of Realism is a history ofthe nineteenth-century realist novel and its legacy told without a glimmer of nostalgia for artistic achievements that the movement of history makes it impossible to recreate. The works of Zola, Tolstoy, Pérez Galdós, and George Eliot are in the most profound sense inimitable, yet continue to dominate the novel form to this day. Novels to emerge since struggle to reconcile the social conditions of their own creation with the history of this mode of writing: the so-called modernist novel is one attempted solution to this conflict, as is the ever-more impoverished variety of commercial narratives – what today’s book reviewers dub “serious novels,” which are an attempt at the impossible endeavor to roll back the past. Fredric Jameson examines the most influential theories of artistic and literary realism, approaching the subject himself in terms of the social and historical preconditions for realism’s emergence. The realist novel combined an attention to the body and its states of feeling with a focus on the quest for individual realization within the confines of history. In contemporary writing, other forms of representation – for which the term “postmodern” is too glib – have become visible: for example, in the historical fiction of Hilary Mantel or the stylistic plurality of David Mitchell’s novels. Contemporary fiction is shown to be conducting startling experiments in the representation of new realities of a global social totality, modern technological warfare, and historical developments that, although they saturate every corner of our lives, only become apparent on rare occasions and by way of the strangest formal and artistic devices. In a coda, Jameson explains how “realistic” narratives survived the end of classical realism. In effect, he provides an argument for the serious study of popular fiction and mass culture that transcends lazy journalism and the easy platitudes of recent cultural studies.