As I witness day is born. I breathe new life. Into a world unknown. Let there be eternal light over darkness. Each dawn brings new life. The day that starts the part. May time be filled with star filled days. With each new dawn I breathe new life. Now my soul is filled to the last rights. My journey is just the tip of the ice. My journey as a poet is never over.

"In a collection of essays, deaf lesbians and gay men discuss their lives, describing how they discovered their sexual identity, overcame barriers to communication in a hearing world, and created a deaf gay and lesbian culture."--Amazon.com viewed Nov. 1, 2022.

A debutante ditches the dull social scene to stow away on the ship of a sexy sea captain in this Victorian romance from the author of The Irish Heiress. She longed for adventure… For many, the London season is a whirlwind of sparkling ballrooms, fashionable gowns, and stolen glances. For Juliette Hamilton, the second of five sisters, it is nothing but scandal. Unable to contain her wild streak, Juliette is desperate for an escape from the watchful eyes of society. And then the perfect opportunity presents itself, in the form of dashing sea captain Harrison Fleming. But he could give her so much more… When Harrison finds Juliette stowed away on his ship, he'd like nothing more than to return the infuriating, intoxicating woman to her family and get back to the business of amassing his fortune. But it's too late to change course, so he gives her the next best punishment: the job of his personal servant! Now, Juliette's at his beck and call, day and night. And both begin to realize that that in such very close quarters, her penance may be much more of a pleasure… Praise for the Novels of Kaitlin O'Riley “O'Riley's believable, charismatic characters and fast-paced plotline set this novel well apart from the usual romance fare.” —Publishers Weekly (starred review) on When His Kiss Is Wicked “A talented author…O'Riley's plot twists add…freshness to the genre.”—Romantic Times on Secrets of a Duchess

Discussions of the self in James Joyce's A Portrait of the Artist as a Young Man traditionally have a generic or a generalized quality: the self is modernist or postmodernist, essential or processive, unified or fragmented, etc. Pathologies of Desire takes a different tack: it shifts the ground of discussion, locating the self in relation to particular dispositions or traits of the subject, Stephen Dedalus. More specifically, it foregrounds three pathological states (autoerotic, paranoia, and the shame/guilt syndrome) as primary modes of self-aggregation - the unique power of painful inner splits and divisions to precipitate self-awareness, and to make the self self-reflexive. As challenges to self-understanding, anxiety (autoeroticism), persecution (paranoia), and humiliation (shame/guilt) are prime catalysts of those multi-layered linguistic resources that fortify Stephen's self with the means of comprehending its own angst. The fact that each particular self dissolves to make way for another underscores its purely contingent and transitional quality - it functions as a defense against the singularity of the pain that it generates. Stephen's ultimate prospect of creating new future selves is thus contingent on his power to liberate himself from the old ones' oppressive conditioning.

This book develops a theory of imagining biblically that explores the contributions scripture can make to a new way of thinking about creativity, reading, interpretation, and criticism. The methodology employed in order to demonstrate this thesis consists of a theoretical exploration of current theological understandings of the imagination and their implications within the fields of literary studies. The biblical texts locates the function generally defined as imagination in the heart (the eyes of your heart, Ephesians 1:18). This book assesses what the biblical text as a literary and religious document contributes to the concept of imagination. Due to the eclectic nature of the individual books that comprise the scriptural canon, the text is considered primarily in terms of its overarching metanarrative, language, genres, and theological propositions. Tracing the various trajectories the biblical text opens up and the ways in which they intersect with and modify post-Romantic assumptions about the imagination reconfigures traditional definitions of this concept. A Calvinistic, evangelical hermeneutic is deployed to establish a theoretical concept of what it means to imagine biblically. This is further substantiated by a comparative study of authors ranging from the seventeenth to the twentieth centuries (John Bunyan, Samuel Rutherford, Jane Austen, Charlotte Bronte, and C. S. Lewis). Each author's chapter incorporates a close reading of a key text which concretely examines various trajectories of imagining biblically, including creativity, faith, morals, narrative, Romanticism, and eschatology. The conclusion returns to the biblical text and draws these elements together, with a definition of the concept of imagining biblically and its implications for literary studies.

One of the most widely-read and translated Spanish works in sixteenth-century Europe was Fernando de Rojas' Celestina, a 1499 novel in dialogue about a couple that faces heartbreak and tragedy after being united by the titular brothel madam. In 'Celestina' and the Ends of Desire, E. Michael Gerli illustrates how this work straddles the medieval and the modern in its exploration of changing categories of human desire - from the European courtly love tradition to the interpretation of want as an insatiable, destructive force. Gerli's analysis draws on a wide range of Celestina scholarship but is unique in its use of modern literary and psychoanalytic theory to confront the problematic links between literature and life. Explorations of influence of desire on knowledge, action, and lived experience connect the work to seismic shifts in the culture of early modern Europe. Engaging and original, 'Celestina' and the Ends of Desire takes a fresh look at the timeless work's widespread appeal and enduring popularity.

The six lectures that make up this book were delivered in March 2011 at London University’s School of Oriental and Asian Studies as the Jordan Lectures on Comparative Religion. They revolve around the intersection of two ideas, nothingness and desire, as they apply to a re-examination of the questions of self, God, morality, property, and the East-West philosophical divide. Rather than attempt to harmonize East and West philosophies into a single chorus, Heisig undertakes what he calls a “philosophical antiphony.” Through the simple call-and-response of a few representative voices, Heisig tries to join the choir on both sides of the antiphony to relate the questions at hand to larger problems that press on the human community. He argues that as problems like the technological devastation of the natural world, the shrinking of elected governance through the expanding powers of financial institutions, and the expropriation of alternate cultures of health and education spread freely through traditional civilizations across the world, religious and philosophical responses can no longer afford to remain territorial in outlook. Although the lectures often stress the importance of practice, their principal preoccupation is with seeing the things of life more clearly. Heisig explains: “By that I mean not just looking more closely at objects that come into my line of view from day to day, but seeing them as mirrors in which I can see myself reflected. Things do not just reveal parts of the world to me; they also tell me something of how I see what I see, and who it is that does the seeing. To listen to what things have to say to me, I need to break with the habit of thinking simply that it is I who mirror inside of myself the world outside and process what I have captured to make my way through life. Only when this habit has been broken will I be able to start seeing through the reflections, to scrape the tain off the mirror, as it were, so that it becomes a window to the things of life as they are, with only a pale reflection of myself left on the pane. Everything seen through the looking glass, myself included, becomes an image on which reality has stamped itself. This, I am persuaded, is the closest we can come to a ground for thinking reasonably and acting as true-to-life as we can.”

Death and pleasure. Freud's Todestrieb, his statement that "libido has the task of making the destroying instinct innocuous, and it fulfills the task by diverting that instinct to a great extent outwards.... The instinct is then called the destructive instinct, the instinct for mastery, or the will to power." Few authors have spun stories of Thanatos and Eros as skillfully and powerfully as Livia Llewellyn. In his introduction to this volume, Laird Barron writes, "Scant difference exists between exquisite pleasure and pain." An orphan girl with a mind for anthracite falls into the hands of a cult worshipping an entombed god. In the Pacific Northwest, evergreens lull prepubescent girls into their trunks to serve as wombs. A suburban housewife troubled by her present encounters the sixteen-year-old girl she ached to touch in her dreams. These ten stories promise to indulge a reader's sensibilities, fears, and desires. A finalist for the Shirley Jackson Award in two categories: Best Novella and Best Collection!

Following a resurgence of interest in Daphne du Maurier’s writing, The Pathology of Desire in Daphne du Maurier’s Short Stories offers an overview of all her collections and a detailed reading of nine stories. These contain recurrent references to the incomplete or impaired human form and are best read through a corporeal lens. The criticism illustrates her importance as a cultural commentator fascinated by the results of frustrated human desire, and includes a synopsis of the published collections, and the stories within them, to give the reader a sense of the variety of the overarching themes and the persistent force of corporeality in the stories. Du Maurier is well-known as a novelist, but her short fiction is pivotal to understanding her position and influence as a writer. She rewrites fairytales and foregrounds female violence long before it became a cultural trend.

In the words of Mr Biersach: "This little tome - or collection thereof-is intended as a word of encouragement for those Catholics who, against all odds, are attempting to hold on to their Faith for dear life, or perhaps trying to rediscover it in the midst of the rumbling chaos ..." And in the words of his good friend, Charles Coulombe: "Our fate ... begins with our reply to that question asked of His disciples by Jesus Christ and continually referred to by Mr. Biersach in this book: "Who do you say that I am?" Mr. Biersach not only shows us in many ways how we must answer that question, but why we must. Moreover, he does so joyfully. The message he brings us is good news; there is a way out of this world of sin and shadows, and our eternity can be unparalleled bliss. That being so, Mr. Biersach bids us, as would his patron St. Phillip Neri, to begin the quest for Paradise with hope, with happiness, and with humor. Never, in this writer's admittedly short experience (a mere four decades), has his message been so timely and so needed."--Amazon.com