Doomed Paradise


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Doomed Paradise is a collection of poetry unleashing thoughts on life, death and afterlife. It touches on our deepest fears and also reminds us that we are not immortal.




Paradise Lost. Book 10


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From Chaucer to Tennyson


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The Wild Garden


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Utopia's Doom


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The so-called Garden of Delights by Jheronimus Bosch (c. 1450-1516), now located in the Museo del Prado in Madrid, was painted over half a millennium ago yet remains an absolutely iconic work in European art history. The highly complex and enigmatic image has frequently been interpreted as a paradisaical utopia, in which people indulge playfully in erotic pleasure in harmony with nature. It is a visual utopia framed before Thomas More had actually coined the word in a book whose entirely unfrivolous blueprint for society could hardly differ more from Bosch's phantasm. More traditional art historians have identified Bosch's masterpiece as a painted warning against the sins of the body, more specifically that of 'lust', citing the image of Hell in the right wing in support. Paul Vandenbroeck argues that these two interpretations need not preclude one another: Bosch painted a phantasmagorical false paradise that leads inexorably to ruin. He drew his inspiration from folk ideas about a semi-earthly, semi-supernatural erotic paradise or Grail, in which those who entered could live in a dream-world of unbridled pleasure. But only until Judgement Day, upon which they would all wind up in Hell. As far as 'right-thinking' town-dwellers were concerned from their vantage point within a 'bourgeois civilizing offensive', belief in such an existence was dangerous, if not diabolical nonsense - tantamount to the 'Cult of Adam' and the indiscriminate sexual promiscuity of the late-medieval Sect of the Free Spirit. In large swathes of countryside throughout Europe, however, people were familiar with 'ecstatics', those 'born with the caul', who were able to access this other world. Bosch's magisterial work is simultaneously a reflection on the first and last times, on passions and moral norms, human beings and Nature. A Nature which, although also part of God's creation, was permeated with malevolent and highly dangerous sexual urges, which human beings were required to keep in check. For whom did Bosch paint this enormous triptych? Since the discoveries of Prof. J.K. Steppe of Leuven University, art historians have tended to identify the patron as Henry III of Nassau or, more recently, his uncle, Engelbert II. This book presents an unexpected alternative hypothesis.




American Colonies


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A multicultural, multinational history of colonial America from the Pulitzer Prize-winning author of The Internal Enemy and American Revolutions In the first volume in the Penguin History of the United States, edited by Eric Foner, Alan Taylor challenges the traditional story of colonial history by examining the many cultures that helped make America, from the native inhabitants from milennia past, through the decades of Western colonization and conquest, and across the entire continent, all the way to the Pacific coast. Transcending the usual Anglocentric version of our colonial past, he recovers the importance of Native American tribes, African slaves, and the rival empires of France, Spain, the Netherlands, and even Russia in the colonization of North America. Moving beyond the Atlantic seaboard to examine the entire continent, American Colonies reveals a pivotal period in the global interaction of peoples, cultures, plants, animals, and microbes. In a vivid narrative, Taylor draws upon cutting-edge scholarship to create a timely picture of the colonial world characterized by an interplay of freedom and slavery, opportunity and loss. "Formidable . . . provokes us to contemplate the ways in which residents of North America have dealt with diversity." -The New York Times Book Review




Death of the Desert


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In the late fourth century, the world of Christianity was torn apart by debate over the teachings of the third-century theologian Origen and his positions on the incorporeality of God. In the year 400, Archbishop Theophilus of Alexandria convened a council declaring Origen's later followers as heretics. Shortly thereafter, Theophilus banished the so-called Tall Brothers, four Origenist monks who led monastic communities in the western Egyptian desert, along with hundreds of their brethren. In some accounts, Theophilus leads a violent group of drunken youths and enslaved Ethiopians in sacking and desecrating the monastery; in others, he justly exercises his episcopal duties. In some versions, Theophilus' violent actions effectively bring the Golden Age of desert monasticism to an end; in others, he has shown proper respect for the desert fathers, whose life of asceticism is subsequently destroyed by bands of barbarian marauders. For some, the desert came to be inextricably connected to violence and trauma, while for others, it became a site of nostalgic recollection. Which of these narratives subsequent generations believed depended in good part on the sources they were reading. In Death of the Desert, Christine Luckritz Marquis offers a fresh examination of this critical juncture in Christian history and brings into dialogue narrative strands that have largely been separated in the scholarly tradition. She takes the violence perpetrated by Theophilus as a turning point for desert monasticism and considers how monks became involved in acts of violence and how that violence came back to haunt them. More broadly, her careful attention to the dynamic relations between memory practices, the rhetorical constructions of place, racialized discourse, and language and deeds of violence speak to us in our own time.




Literary essays


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Genesis


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Annotation.




The Origin of God


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The author is the main character of this work in which he travels through other dimensions and the origin of the universe is revealed to him.