“Hidden Identities: The unseen faces” is an anthology that ponders about the world around us and the faces we put forward to that world. This book brings to you the most beautiful tales from different personalities connected through a single idea - ‘True Self’. The true self is often hidden, sometimes out of greed, sometimes out of love, sometimes out of fear. These and many other situations force us to hide our feelings of love and hatred, trust and distrust, confusion and sorrow. We put on a mask before our family, another one before our friends and yet another one before the society. Every page in this book is filled with serene pieces which brings to the readers the excitement of reflecting upon their own true selves and realizing their own hidden identities.

The water tower stood brooding over the cemetery in East Arcadia as if it resented what had transpired, without its permission, beneath it. Here Harley had lost his mask and his symbolic identity, and by extension, mine as well, thereby beginning our fool's errand of retrieval. And just beyond the bend of the horizon stood the skeletal remains of the Way Keepers Spiritual Center, where our odyssey had ended in an all-too-literal trial by fire. Surrounded by immutable reminders of our journey, it struck me that I had been guilty, as Harley had pointed out, of safely observing rather than taking an active part in the world around me. Harley had accused me of bench-warming my way through life at the masque in Atlantic City. "You gotta get out there and see the world," he said, "not just read about it." Harley's easy smile hadn't changed since kindergarten, and we had been inseparable since. Our third grade teacher called us the Dynamic Duo, though I later thought the Odd Couple made more sense-Harley the extroverted white athlete and I the introverted black bookworm-but I had been grateful for her convenient color blindness, and for her open-minded acceptance, something sadly lacking in our classmates from the largely-white, conformist suburb of Arcadia.

Enjoy this steamy Scottish Medieval romance series A warrior with cursed royal blood... Tough Scots warrior Finn Braeson dreams of finding a gentle lass to love and share his life with. But when he is commanded by his king to marry the princess of Pictland he has no choice. It’s the only way to protect his mother and younger stepsisters from the king’s wrath. But before he can wed the elusive princess, he must first go undercover and find her. A princess who must hide her identity... Bound by a deathbed promise to her husband to never reveal her true identity as the princess of Pictland, Mairi is a fugitive in her own land. Following her beloved goddess and the omen of the Blood Moon, she's determined to avenge her people against the upstart king, and has no intention of falling for the silken charm of any Scots warrior. Yet despite the danger of discovery, and the secrets she must keep, she cannot resist his allure. First love, only love... Captivated by the wit of the beautiful Pictish lady who has ensnared his heart, Finn craves for a future with her. But when betrayal rocks their fragile alliance, they must fight the political intrigues that surround them and put their trust in each other – or risk being torn apart forever. Her Baseborn Scot is the third novel in The Highland Warrior Chronicles romance series, although all books in the Highland Warrior world can be read as standalones. This is a HOT mistaken identity/wrong side of the tracks romantic story with a guaranteed happily ever after. It does have some strong language and sexy times. Enjoy!

This "natural history" of the face unravels the surprising mysteries of one of the most familiar sights in everyday life, exploring the face's anatomy, its singularity, its ability to communicate, and its beauty.

As recent events indicate, Iranian, Middle Eastern, and Islamic politics more broadly have been deeply influential in world affairs. Hamid Dabashi has been a highly visible and prominent commentator on these affairs, explaining, interpreting, and providing a critical perspective. This volume gathers together his most influential and insightful writings. As one of the foremost contemporary public intellectuals and scholars of our time, Dabashi's interests and writings span subjects ranging from Islamic philosophy and political ideology to Iranian art and Persian literature, from Sufism and Orientalism to Iranian and world cinema and contemporary Arab and Muslim visual arts; and from postcolonial theory and globalization to imperialism and public affairs. There is a direct connection between his theoretical innovations and the angle of his public interventions on the urgent global issues of the day. This book brings together some of his most important writings, especially those that offer new ways of understanding Islam, Iran, Islamist ideology, global art, and the condition of global modernity. The book shows the underlying conceptual themes that unify Dabashi's wide-ranging and brilliantly insightful corpus. Dabashi combines deep knowledge of the subject matter about which he writes, and highly refined sociological, hermeneutical, and cultural interpretive skills, moving far beyond the limiting, distorted, and intellectually stifling character of reigning absolutist conventions. He places existing authoritative frameworks under close scrutiny in order to produce novel and penetrating insights. These essays reflect historical and geographical worlds that are best viewed when Hamid Dabashi's work is read as a whole, which this one- volume work makes possible for the first time.

This book is a meditation on and an attempt to understand suicidal violence in the immediate context of its most recent political surge: the decade between 2001 and 2011, from the suicidal mission of Muhammad Atta and his band in the United States to the suicide of Mohamed Bouazizi in 2010 in Tunisia. After the former a devastating military strike and occupation of two Muslim countries commenced, and after the latter a massive transnational democratic uprising ensued. Suicidal violence is neither specific to Islam nor peculiar to our time. It has been manifested in practically all cultures and religions and throughout human history. But the suicidal violence we witness today is of an entirely different disposition because the bodies (both of the assailant and of the assailed) on which it is perpetrated are no longer the human body of our Enlightenment assumption. What we are witnessing is in fact the contour of a posthuman body. The posthuman body, as Dabashi here proposes, is the body of a contingent and contextual being, and as such an object of disposable knowledge; while the human body that it has superseded was corporeally integral, autonomous, rational, indispensable, and above all the site of a knowing subject.

An avid romance fan discovers her favorite author isn’t the woman she imagined but a mysterious man with secrets to protect. Phylis Carpenter, a die-hard romance reader, arrives at the Unexpected Paradise resort, eager to meet her cherished author and online confidante, Maxine Foster. Dreaming of sunny days and deep discussions about passionate heroes and enticing plot twists, she’s in for a shock. Max Donovan, the man behind Maxine Foster’s tales, isn’t just any man—he’s the embodiment of the alpha heroes he pens. Preferring to remain in the shadows, he disguises his identity, letting his ex-lover, Joanna Jenkins, bask in the limelight of his success. Sparks fly and chemistry ignites when Max and Phylis are inexplicably drawn by their shared love of story and intrigue. Max reminds Phylis of every romance hero she loves, and Phylis’s enthusiasm and infectious charm is irresistible for both the author and the man. From thrilling scavenger hunts to unraveling a ghost’s ill-fated love story, their bond grows stronger over shared tales, furtive kisses, and stolen moments. But as Phylis draws Max towards the allure of romance, his hidden identity becomes a looming threat to their unfolding love. Joanna, desperate to hold on to her position as the face of Maxine Foster, schemes to keep them apart. The island, with its enchanting locales and spirited inhabitants, tries to play matchmaker, but the impending masquerade ball threatens to shatter the illusion. As Phylis inches closer to unmasking Max’s true self, she grapples with a heart-wrenching question: Is Max the genuine article or just another fictional hero? Dive into this sweet contemporary romance, where love stories aren’t just written but lived.

Bringing together the personal and professional narratives of Asian American family therapists, this book offers insight into the Asian American experience through systemic theory and frameworks, individual and community stories, and clinical considerations. The Asian American experience is still a largely invisible and unknown one, especially in the field of marriage and family therapy. With a contextual lens, this book highlights how understanding family migration legacies and individual generational status relative to time, place, and context is critical to doing meaningful work with Asian Americans. Filled with thought-provoking case studies and reflective questions, chapters discuss the impact of stereotyping on mental health; the historical and present ways that Asian American racialization invisibilizes individual and collective experiences; shame associated with bicultural identity, gender, generational trauma, media representations; and more. Each chapter bridges these ideas to clinical practice while concurrently centering the voices and experiences of Asian American therapists. This book is essential reading for marriage and family therapists and other mental health clinicians who want to deepen their understanding of, relationship with, and clinical support for the Asian Americans in their lives, whether friends, colleagues, supervisees, or clients.

Asymptote: An Approach to Decadent Fiction offers a radically new approach to the psychology of Decadent creation. Rejecting traditional arguments that Decadence is a celebration of deviance and exhaustion, this study presents the fin-de-siecle novel as a transformative process, a quest for health. By allowing the writer to project into fiction unwanted traits and destructive tendencies - by permitting the playful invention of provisional identities -, Decadent creation itself becomes a dynamic act of creative regeneration. In describing the interrelationship of Decadent authors and their fictions, Asymptote uses the mathematical figure of the asymptote to show how they converge, then split apart, and grow distant. The author's approach to the facsimile selves he plays with and discards is the curve that never merges with his authorial identity. In successive chapters, this study describes the Decadents' experimentation with perversion (Huysmans's A rebours and Mendes's Zo'har), and their subsequent validation of social regulation and creative discipline. It examines magic and its appeal to fantasies of elitism and omnipotence (Péladan's Le Vice supreme and Villiers's Axël ), then shows authors embracing the values of community and service. It considers the Decadent text as a vehicle of change in which an artist ventilates fantasies of aggression and revenge (Mirbeau's Le Journal d'une femme de chamber and Rachilde's La Marquise de Sade) then employs writing as the means by which these feelings are discharged. It examines creation as a form of play, "une aliénation grâce à laquelle l'esprit se récupère sous la forme des autres" (Schwob's Vies imaginaries and Lorrain's Histoires de masques), yet notes the Decadents' decision to return to a single generative center. Finally, it examines creation as an expression of artistic transience and failure, yet shows the Decadents' success in commemorating the very forces of disintegration (Rodenbach's L'Art en exil). In considering the Decadents' insistence on subjectivism and aloneness, this study concludes (Gourmont's Sixtine) by showing their wish to escape the prison of identity and to redefine their art as cooperative creation.

Since 1995 there has been a widespread return of commitment to French cinema taking it to a level unmatched since the heady days following 1968. But this new wave of political film is very different and urgently calls out for an analysis that will account for its development, its formal characteristics and its originality. This is what this book provides. It engages with leading directors such as Cantet, Tavernier, Dumont, Kassovitz, Zonca and Guédiguian, takes in a range of less well known but important figures and strays across the Belgian border to engage with the seminal work of the Dardenne brothers. It shows how the works discussed are helping to reinvent political cinema by finding stylistic and narrative strategies adequate to the contemporary context.