Break My Heart and Make Me Dance


Book Description

When I was young, I knew God loved me. I followed Him. Being His child was natural and easy. Then I hit puberty, and my world changed. There were things I saw that I wanted, things that I thought He might not want me to have. I started to wander. Still, I was not stupid. I knew I still needed Him as Savior; it was His Lordship that gave me pause. Eventually I stripped Him of His Lordship and went to live in the "fallen world." I kept Him as my Savior, but I made no effort to follow Him. I loved my life in the fallen world. Still, it had its challenges. There were times I would find myself in the dreaded "Valley of the Shadow of Death." I knew somehow He was responsible. It was in the "Valley" that I would find myself needing Him. Eventually I would have to call on Him. And rescue me He would, but I refused anything but temporary rescue. I would be thankful for a few days, but the desire for my old life in the fallen world would soon reclaim me, and I would put Him back on the shelf. There was so much out there to grab for, and the fallen world did push and encourage me to go for happy. There was a problem with that: I was created to be filled with joy, His joy. "Happy" was just a temporary, dim simulation. I finally had to face the questions. Does He really love me? Is He really to be trusted? Is He really the God of the Bible? If the answer to these questions was yes, could I really have enough confidence in Him to make Him my center and follow Him?




Catalog of Copyright Entries


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Fraser's Magazine


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Fraser's Magazine for Town and Country


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Contains the first printing of Sartor resartus, as well as other works by Thomas Carlyle.




Breaking Free


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A magical storyteller -- SHASHI DESHPANDE 'Doesn't this life strike you as shameful?' 'I am an artist. That's the only thing that matters to me.' Kasturi and Lakshmi are born into the devadasi clan. While Kasturi thinks of nothing other than the joy she experiences when she's dancing before the deity in the temple, Lakshmi is troubled by the treatment dasis receive from society, the secretive manner of her father's visits to their house, and his reluctance to acknowledge her publicly as his daughter. To the surprise of those around her, instead of learning to dance, a frustrated and angry Lakshmi insists on getting an education, and becomes a doctor. As their paths diverge, the differences in their opinions cause a rift in Kasturi and Lakshmi's relationship. But when tragedy strikes, Kasturi's faith in tradition is shaken and she finds herself turning to Lakshmi once again. Set against the rising clamour for India's independence, Breaking Free is a nuanced and thought-provoking story of three generations of women and the effect history and memory--and secrets--have on their lives. Brilliantly translated by N. Kalyan Raman, it brings Vaasanthi's Tamil masterpiece to an entirely new readership. Plunges the reader into the varied and turbulent world of devadasis, bringing the complexities of their history to life -- GITANJALI KOLANAD A powerful story, told with clarity and insight, about some of the young girls who suffered and the few who fought back -- KAVERY NAMBISAN




Wait Till You See Me Dance


Book Description

“Deb Olin Unferth’s stories are so smart, fast, full of heart, and distinctive in voice—each an intense little thought-system going out earnestly in search of strange new truths. What an important and exciting talent.”—George Saunders For more than ten years, Deb Olin Unferth has been publishing startlingly askew, wickedly comic, cutting-edge fiction in magazines such as Granta, Harper’s Magazine, McSweeney’s, NOON, and The Paris Review. Her stories are revered by some of the best American writers of our day, but until now there has been no stand-alone collection of her short fiction. Wait Till You See Me Dance consists of several extraordinary longer stories as well as a selection of intoxicating very short stories. In the chilling “The First Full Thought of Her Life,” a shooter gets in position while a young girl climbs a sand dune. In “Voltaire Night,” students compete to tell a story about the worst thing that ever happened to them. In “Stay Where You Are,” two oblivious travelers in Central America are kidnapped by a gunman they assume to be an insurgent—but the gunman has his own problems. An Unferth story lures you in with a voice that seems amiable and lighthearted, but it swerves in sudden and surprising ways that reveal, in terrifying clarity, the rage, despair, and profound mournfulness that have taken up residence at the heart of the American dream. These stories often take place in an exaggerated or heightened reality, a quality that is reminiscent of the work of Donald Barthelme, Lorrie Moore, and George Saunders, but in Unferth’s unforgettable collection she carves out territory that is entirely her own.