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This audacious allegory transforms the old rule about judging a book by its cover into entertainment of the highest order A wind sprang high in the west, like a wave of unreasonable happiness, and tore eastward across England, trailing with it the frosty scent of forests and the cold intoxication of the sea.   Seeking shelter from a storm of biblical proportions, a mysterious new tenant by the name of Innocent Smith arrives on the doorsteps of Beacon House. Eccentric, spry, and eager to make new friends, Innocent turns the culture of this ho-hum London boarding establishment upside down. But the fun and games come to an abrupt end when word arrives that the new lodger is wanted on charges of burglary, polygamy, desertion of a spouse, and murder. Only a jury of his peers can determine if Innocent is as guilty as he appears.   Written in upbeat and lighthearted prose, this charming novel of life, salvation, and the human predicament captures G. K. Chesterton at his finest.   This ebook has been professionally proofread to ensure accuracy and readability on all devices.

A short story is presented.

The Maysles brothers' Grey Gardens (1975) is one of the most important documentary films of the past thirty years. In the past decade the film has gained the status of cult classic, inspiring both a Broadway musical and a 2009 HBO feature film. In this first single volume study of the film, Matthew Tinkcom argues that Grey Gardens reshaped documentary cinema by moving the non-fiction camera to the heart of the household, a private space into which film-makers had seldom previously ventured. Already well-established figures in the 'direct cinema' movement of the 1960s (with their previous films, including Salesman and Gimme Shelter), the brothers' visual record of a summer spent in the Beale household demonstrated that the private lives of their subjects were rich materials for the camera.By the time the film-makers appeared on their front porch, the film's two central figures, 'Big Edie' Beale and her daughter 'Little Edie', had been living for two decades in near-poverty in their beach-side East Hampton mansion (the 'Grey Gardens' of the title). Close relatives of Jacqueline Kennedy Onassis, by the early 1970s the Beales had lost much of their personal wealth and their everyday lives had descended into a state of barely-controlled squalor. However, as the film-makers discovered, the women were hardly victims of their poverty; rather they saw themselves as artists who were willing to make seemingly any sacrifice for their singing and dancing talents. When the Edies perform for the camera, audiences are challenged by the question of how much anyone would be willing to give up in order to lead a life of eccentric pleasure. Tinkcom argues that the film is one of the first to combine documentary with the conventions of fiction film melodrama, and that the film's appeal arrives in the rich melodramatic dimensions of the Beales' everyday lives in which they argue, dress up, flirt, laugh, sing, dance and reminisce about their experiences in New York's social elite in the first half of the twentieth century.

De betekenis van Dirck Volkertszoon Coornhert als humanist en politicus is in vergetelheid geraakt. Pas in de twintigste eeuw werd Coornhert herontdekt en is een gedeelte van zijn omvangrijke schriftelijke nalatenschap ontsloten. Deze bundel bouwt voort op die herontdekking. Een aantal onderzoekers op het gebied van de geschiedenis van cultuur, godsdienst, filosofie en letterkunde levert bouwstenen voor een nieuwe historische plaatsbepaling en herwaardering van een van de meest spraakmakende persoonlijkheden in de Nederlanden van de zestiende eeuw. Met bijdragen van Ruben Buys, Jaap Gruppelaar, Johan Koppenol, Henk Nellen, Mirjam van Veen, Gerlof Verwey en Gerrit Voogt.

Sinds het einde van de negentiende eeuw wordt de wereldberoemde kunstenaar Vincent van Gogh toegeëigend door inwoners van de meest uiteenlopende landen. De essaybundel Overal Vincent vertelt de verhalen achter deze nationale toeëigening, voorzien van kritische analyses door (kunst)historische, sociologische, filosofische en literaire experts. Zij bieden de lezer een reis door de tijd die start in het heden, bij de opname van Van Gogh in de canon van de Nederlandse geschiedenis.

Like the narrator of “La novela en el tranvía,” the old male protagonist ofLa sombra, Dr Anselmo, relates his own story, but now from within the fiction to an anonymous narrator, who is responsible for transmitting it to the reader. Dr Anselmo has suffered a serious mental breakdown. According to Karen Austin (“Madness” 29), his case is the most extensive and detailed analysis of mental disorders in Galdós’s whole output and is “a textbook case and a psychoanalyst’s dream.” In fact, the real nature of Dr Anselmo’s mental condition is the principal subject of interest and contention right from

In nineteenth-century European realist novels, by which we mean those written in England, France, Portugal, Russia, and Spain in the half-century between 1835 and 1885, more or less, character succeeded in reversing the subordinate ranking that Aristotle had originally accorded it in the drama by becoming the principal element by which a novel’s mimetic reproduction of contemporary phenomenal reality was judged. Character was the intersection “where the multiple levels and components of the text” met (Suleiman 173); they had to have the same external, physical features, as well as display the same behavioural and emotional habits that the readers did

By now they had discovered there was no big Italian. Besides aluminum, the big-box store had Fiberglas. [...] that told the tale. [...] she worked in silence. [...] she came face-to-face with the horrifying slates of the mansard roof.