Reprint of the original, first published in 1874. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

A powerful tragedy distilled into a small masterpiece by the Nobel Prize-winning author of Beloved and, almost like a prelude to that story, set two centuries earlier. Jacob is an Anglo-Dutch trader in 1680s United States, when the slave trade is still in its infancy. Reluctantly he takes a small slave girl in part payment from a plantation owner for a bad debt. Feeling rejected by her slave mother, 14-year-old Florens can read and write and might be useful on his farm. Florens looks for love, first from Lina, an older servant woman at her new master's house, but later from the handsome blacksmith, an African, never enslaved, who comes riding into their lives . . . At the novel's heart, like Beloved, it is the ambivalent, disturbing story of a mother and a daughter – a mother who casts off her daughter in order to save her, and a daughter who may never exorcise that abandonment.

When Jesus asked us to feed the hungry, give drink to the thirsty, and visit the imprisoned, he didn’t mean it literally, right? Kerry Weber, a modern, young, single woman in New York City sets out to see if she can practice the Corporal Works of Mercy in an authentic, personal, meaningful manner while maintaining a full, robust, regular life. Weber, a lay Catholic, explores the Works of Mercy in the real world, with a gut-level honesty and transparency that people of urban, country, and suburban locales alike can relate to. Mercy in the City is for anyone who is struggling to live in a meaningful, merciful way amid the pressures of “real life.” For those who feel they are already overscheduled and too busy, for those who assume that they are not “religious enough” to practice the Works of Mercy, for those who worry that they are alone in their efforts to live an authentic life, Mercy in the City proves that by living as people for others, we learn to connect as people of faith.

Exiled from heaven, a lost soul seeks her soulmate ... Age 13+ Mercy 'wakes' on a school bus bound for Paradise, a small town where everyone knows everyone else's business - or thinks they do. But they will never guess the secret Mercy is hiding .... As an angel exiled from heaven and doomed to return repeatedly to Earth, Mercy is never sure whose life and body she will share each time. And her mind is filled with the desperate pleas of her beloved, Luc, who can only approach her in her dreams. In Paradise, Mercy meets Ryan, whose sister was kidnapped two years ago and is now presumed dead. When another girl disappears, Mercy and Ryan know they must act before time runs out. But a host of angels are out for Mercy's blood and they won't rest until they find her and punish her - for a crime she doesn't remember committing ... An electric combination of angels, mystery and romance, MERCY is the first book in a major new series.

(Applause Books). This the first book to examine the films of the acclaimed and popular Indian-born and Harvard educated filmmaker, Mira Nair. A unique voice in cinema today, she is one of the few female directors who made it to the top of a male-dominated profession. Her films feature an incomparably sensuous visual style yet at the same time often record the injustice of the disenfranchised and the cross-pollination of East and West. Her twin themes of realism and romance make for dazzling cinema. John Kenneth Muir analyzes all of Nair's work, including: Salaam Bombay! (1988), the groundbreaking story of a young boy abandoned by his family on the streets of Bombay; Mississippi Masala (1991), an interracial small town romance between an Indian woman (Sarita Choudhury) and an African American businessman (Denzel Washington); Monsoon Wedding (2001), featuring a Bollywood carnival atmosphere, one of the most successful foreign films ever released in the United States; Hysterical Blindness (2002), the HBO film featuring Uma Thurman and Juliette Lewis, looking for love in all the wrong places; The big-budget Hollywood adaptation of the Thackery novel Vanity Fair (2004), starring Reese Witherspoon, Gabriel Byrne, and Eileen Atkins.

In 14th century France, Aida is accused of being a witch when the Black Death wipes through her village. Abandoned by her family, she is surrounded by death and disease, but when a woman who may actually be a witch tells her how to cure the plague, it may mean uncovering a dark magic.

In much of modern fiction, it is the clothes that make the character. Garments embody personal and national histories. They convey wealth, status, aspiration, and morality (or a lack thereof). They suggest where characters have been and where they might be headed, as well as whether or not they are aware of their fate. At the Mercy of Their Clothes explores the agency of fashion in modern literature, its reflection of new relations between people and things, and its embodiment of a rapidly changing society confronted by war and cultural and economic upheaval. In some cases, people need garments to realize themselves. In other cases, the clothes control the person who wears them. Celia Marshik's study combines close readings of modernist and middlebrow works, a history of Britain in the early twentieth century, and the insights of thing theory. She focuses on four distinct categories of modern clothing: the evening gown, the mackintosh, the fancy dress costume, and secondhand attire. In their use of these clothes, we see authors negotiate shifting gender roles, weigh the value of individuality during national conflict, work through mortality, and depict changing class structures. Marshik's dynamic comparisons put Ulysses in conversation with Rebecca, Punch cartoons, articles in Vogue, and letters from consumers, illuminating opinions about specific garments and a widespread anxiety that people were no more than what they wore. Throughout her readings, Marshik emphasizes the persistent animation of clothing—and objectification of individuals—in early-twentieth-century literature and society. She argues that while artists and intellectuals celebrated the ability of modern individuals to remake themselves, a range of literary works and popular publications points to a lingering anxiety about how political, social, and economic conditions continued to constrain the individual.