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It is a sin to write this. It is a sin to think words no others think and to put them down upon a paper no others are to see. It is base and evil. It is as if we were speaking alone to no ears but our own. And we know well that there is no transgression blacker than to do or think alone. We have broken the laws. The laws say that men may not write unless the Council of Vocations bid them so. May we be forgiven! But this is not the only sin upon us. We have committed a greater crime, and for this crime there is no name. What punishment awaits us if it be discovered we know not, for no such crime has come in the memory of men and there are no laws to provide for it. It is dark here. The flame of the candle stands still in the air. Nothing moves in this tunnel save our hand on the paper. We are alone here under the earth. It is a fearful word, alone. The laws say that none among men may be alone, ever and at any time, for this is the great transgression and the root of all evil. But we have broken many laws. And now there is nothing here save our one body, and it is strange to see only two legs stretched on the ground, and on the wall before us the shadow of our one head. The walls are cracked and water runs upon them in thin threads without sound, black and glistening as blood. We stole the candle from the larder of the Home of the Street Sweepers. We shall be sentenced to ten years in the Palace of Corrective Detention if it be discovered. But this matters not. It matters only that the light is precious and we should not waste it to write when we need it for that work which is our crime. Nothing matters save the work, our secret, our evil, our precious work. Still, we must also write, for—may the Council have mercy upon us!—we wish to speak for once to no ears but our own. Our name is Equality 7-2521, as it is written on the iron bracelet which all men wear on their left wrists with their names upon it. We are twenty-one years old. We are six feet tall, and this is a burden, for there are not many men who are six feet tall. Ever have the Teachers and the Leaders pointed to us and frowned and said:
"There is evil in your bones, Equality 7-2521, for your body has grown beyond the bodies of your brothers." But we cannot change our bones nor our body. We were born with a curse. It has always driven us to thoughts which are forbidden. It has always given us wishes which men may not wish. We know that we are evil, but there is no will in us and no power to resist it. This is our wonder and our secret fear, that we know and do not resist. We strive to be like all our brother men, for all men must be alike. Over the portals of the Palace of the World Council, there are words cut in the marble, which we repeat to ourselves whenever we are tempted.
SWANN'S WAY
In Search of Lost Time (French: À la recherche du temps perdu)—also translated as Remembrance of Things Past—is a novel in seven volumes by Marcel Proust (1871–1922). His most prominent work, it is known both for its length and its theme of involuntary memory, the most famous example being the «episode of the madeleine.» It gained fame in English in translations by C. K. Scott Moncrieff and Terence Kilmartin as Remembrance of Things Past, but the title In Search of Lost Time, a literal rendering of the French, has gained usage since D. J. Enright adopted it for his revised translation published in 1992.
The novel began to take shape in 1909. Proust continued to work on it until his final illness in the autumn of 1922 forced him to break off. Proust established the structure early on, but even after volumes were initially finished he kept adding new material and edited one volume after another for publication. The last three of the seven volumes contain oversights and fragmentary or unpolished passages as they existed in draft form at the death of the author; the publication of these parts was overseen by his brother Robert.
The work was published in France between 1913 and 1927. Proust paid for the publication of the first volume (by the Grasset publishing house) after it had been turned down by leading editors who had been offered the manuscript in longhand. Many of its ideas, motifs, and scenes are foreshadowed in Proust's unfinished novel, Jean Santeuil (1896–99), though the perspective and treatment there are different, and in his unfinished hybrid of philosophical essay and story, Contre Sainte-Beuve (1908–09). The novel had great influence on twentieth-century literature; some writers have sought to emulate it, others to parody it. In the centenary year of Du côté de chez Swann, Edmund White pronounced A la recherche du temps perdu «the most respected novel of the twentieth century.»[1]
The Collected Works of Horace Walpole
This comprehensive eBook presents the complete works or all the significant works – the Œuvre – of this famous and brilliant writer in one ebook – easy-to-read and easy-to-navigate: • The Castle of Otranto by Horace Walpole • Shorter Novels, Eighteenth Century by Samuel Johnson, Horace Walpole, and William Beckford • Hieroglyphic Tales by Horace Walpole • The Letters of Horace Walpole, Earl of Orford by Horace Walpole • Letters of Horace Walpole by Horace Walpole • Historic Doubts on the Life and Reign of King Richard the Third by Horace Walpole • Castle of Otranto • etc.
The Collected Works of Baron Edward Bulwer Lytton Lytton
This comprehensive eBook presents the complete works or all the significant works – the Œuvre – of this famous and brilliant writer in one ebook – 29720 pages easy-to-read and easy-to-navigate: • The Coming Race • The Last Days of Pompeii • Zanoni • Paul Clifford • The Haunted and the Haunters; Or, The House and the Brain • Harold: the Last of the Saxon Kings • A Strange Story • Home Life of Great AuthorsHattie Tyng Griswold • Athens: Its Rise and Fall • Rienzi, the Last of the Roman Tribunes • Lucretia • The Works Of Edward Bulwer-Lytton • Pelham • The Last of the Barons • Alice, or the Mysteries – Complete • The Fallen Star, or, the History of a False Religion by E.L. Bulwer; And, A Dissertation on the Origin of Evil by Lord Brougham and Henry Brougham Brougham and Vaux • Devereux – Complete • The Lady of Lyons; Or, Love and Pride • Pausanias, the Spartan; The Haunted and the Haunters • What Will He Do with It? • Ernest Maltravers • The Caxtons: A Family Picture • LucileEarl of Edward Robert Bulwer Lytton Lytton • Alice, or the Mysteries • Essai sur Talleyrand (Französisch)Henry Lytton Bulwer • Harold: the Last of the Saxon Kings • «My Novel» • Leila or, the Siege of Granada, Complete • Eugene Aram • Lucretia • The Poetical Works of Edward Bulwer Lytton, Bart. M.P. • Night and Morning • The Last of the Barons – Volume • The Disowned • The Last Days of Pompeii • Zicci: A Tale • The Parisians • The Pilgrims of the Rhine • Kenelm Chillingly • Godolphin • Calderon the Courtier, a Tale • Falkland, Complete • Tomlinsoniana • etc.
Una decisione, Presidente!
Un’opera teatrale – basata sulla tesi che la partitocrazia abbia fallito in tutto il mondo poiché i cittadini si sono stancati di essere dominati dai governi e dai burocrati, – che mostra come possa funzionare la politica in un ordinamento statale adeguato ai nostri tempi, – che invita inoltre i cittadini a permettere che i pochi politici che agiscono veramente per il loro bene conservino la propria umanità.
Il presidente della Repubblica di Ortonia, David Arricas, è il sostenitore di una politica di trasparenza, volta a soddisfare le aspettative dei cittadini. Le sue azioni si basano sulla convinzione che lo Stato non possa essere fine a se stesso, ma debba essere al servizio della gente. Passo dopo passo trasforma il vecchio sistema ostile ai cittadini in un’istituzione adeguata ai tempi moderni, modificando le leggi, ormai lontane dalle esigenze della gente, per renderle più consone alla realtà delle persone. Tuttavia in questo modo Arricas si crea molti nemici, anche perché già prima della sua elezione aveva annunciato di voler finalmente liberare i cittadini dalla burocrazia, restituendogli così una migliore qualità della vita. Con questa politica riesce ad inimicarsi anche i regimi degli Stati confinanti, preoccupati che la scintilla dell’emancipazione dei cittadini si propaghi anche nel loro Paese. Quando la ministra degli Esteri da lui voluta, Eliana De Thomar, ordisce una ribellione, Arricas entra in conflitto con i cittadini: questi reclamano per la traditrice della patria la pena di morte, che lui invece rifiuta categoricamente. Oltre alle questioni politiche Arricas deve affrontare anche problemi personali: in lui si insinua il dubbio che l’amore della sua vita possa averlo ingannato. Avverte con crescente chiarezza il lato oscuro del potere. Alla fine si trova stretto fra due fuochi: da una parte il suo ruolo di presidente e le promesse fatte ai cittadini, dall’altra la donna che lui ama più di ogni altra cosa e che pretende il suo ritiro dalla politica. A questo punto deve prendere una decisione.
Beer Barrel Polka
Die Originalversion von «Beer Barrel Polka» wurde 1939 veröffentlicht. Der Song ist auch unter dem Namen «Roll Out the Barrel» bekannt. Die bekannteste Version stammt von Will Glahé. In Deutschland wurde der Titel unter dem Namen Rosamunde bekannt. In dieser Ausgabe sind die Klaviernoten im Violin- und Bassschlüssel enthalten. Text, Akkorde und Gesangsmelodie sind separat notiert.
Because They're Young
Die Originalversion von «Because They're Young» wurde 1960 veröffentlicht. Der Song ist der Soundtrack zum gleichnamigen Kinofilm mit Dick Clark. Von verschiedenen Künstlern wurden in den letzten Jahrzehnten zahlreiche Bearbeitungen des Songs angefertigt. In dieser Ausgabe sind die Klaviernoten im Violin- und Bassschlüssel enthalten. Text, Akkorde und Gesangsmelodie sind separat notiert.
Bahama Lullaby
Die Originalversion von «Bahama Lullaby» wurde 1957 veröffentlicht. Von verschiedenen Künstlern wurden in den letzten Jahrzehnten zahlreiche Bearbeitungen des Songs angefertigt. Mittlerweile gehört der Song zum Popular-Standard-Repertoire. In dieser Ausgabe sind die Klaviernoten im Violin- und Bassschlüssel enthalten. Text, Akkorde und Gesangsmelodie sind separat notiert.
Mainstreaming the Global Radical Right
2019 was a defining year for the radical right globally. From national and supranational elections that witnessed a surge in support for radical right parties to transnationally-inspired terrorist attacks in New Zealand, the USA, and Germany, the radical right is not just on the rise, but becoming an international mainstream phenomenon. The yearbook draws upon insightful analyses from an international network of scholars, policymakers, and practitioners who explore the processes and impact of the radical right. Beginning with reflections on the ideology and then historical perspectives of the radical right, the volume then turns to contemporary manifestations of movements and political parties as well as terrorism and the role of online spaces. It ends by examining various perspectives towards countering and challenging the radical right.
This overview provides a widespread examination of the global radical right in 2019, which will be useful to scholars, students, policy makers, and the public.
Against Reason
Anthony Barron explores the relationship between the philosophy of Schopenhauer and the forms and themes of Beckett’s critical and creative writings. He shows that Beckett’s aesthetic preoccupations are consonant with some of Schopenhauer’s seminal arguments regarding the arational basis of artistic composition and appreciation and the impotence of reason in human affairs. While Beckett’s critical writings are, in places, formidably opaque, this work examines the ways in which such texts can be elucidated when their intertextual affinities with Schopenhauer’s arguments are revealed. Using Schopenhauer’s thought as a presiding interpretative framework, Barron demonstrates how the widespread presence of philosophical and theological ideas in Beckett’s creative texts signifies less about his personal convictions than it does about his authorial aims. He thereby highlights the ways in which discursive ideas were appropriated and manipulated by Beckett for purely literary ends. A central contention of this book is that to judge the place of ideas within Beckett’s art, we should ignore questions of their theoretical persuasiveness and consider their role as purely aesthetic devices, the value of which is revealed in terms of the existential impact they have upon his characters. In each of the chapters that deal with Beckett’s fiction, Barron underscores the artistically energizing tensions that exist between the concepts that Beckett’s characters invoke in their attempts to comprehend the import of their experiences and their conative and affective tribulations which invariably prove resistant to such analysis. Here the means by which such conceptual aporias engender semantic potentialities underpin an exploration of Beckett’s creative assimilation of rational discourse. While the focus of this publication is upon Beckett’s early and middle fiction, which was composed at a time when the relationship between the chaos of quotidian ordeals and the value of rational thought became most acutely relevant for him, numerous cross-references to his dramatic and poetical works are provided in order to highlight the overall significance of these issues within his oeuvre.