Love’s memories, love recalling itself in letters lost and found over an interval of forty years: Cixous’s writer-narrator advances here far into a labyrinth of passions long ago delivered and yet still arriving through the mail, through letters and literature, in other words, the poetry of the post. As for the lovers’ returning scenes, they have their addresses in Paris (rue Olivier de Serres, Avenue de Choisy, street names that endlessly feed love’s unconscious language) and in New York, but also in a lost oasis of the Egyptian desert during the Napoleonic wars, in Athens and along the shores of a great lake centuries ago in the country of myth. The lovers are poets or soldiers, philosophers or students madly in love with poetry and poets. They are as well mermaids or panthers. Panthers? Yes, for it is the passion of the animal that drives all these lovers to bare themselves, and sometimes their claws, before the beloved. Misunderstandings are often, even inevitably the result. Seconded and witnessed by her passionate, truth-telling cats, Cixous’s narrator-writer returns unerringly to moments of errancy inflicted on address and language, those errors and faults when love, perhaps, is listening only to itself, without subject or object, lover or beloved, just love itself, l’amour même, l’amour m’aime, love loving me, in the letter box of memory.

Love’s memories, love recalling itself in letters lost and found over an interval of forty years: Cixous’s writer-narrator advances here far into a labyrinth of passions long ago delivered and yet still arriving through the mail, through letters and literature, in other words, the poetry of the post. As for the lovers’ returning scenes, they have their addresses in Paris (rue Olivier de Serres, Avenue de Choisy, street names that endlessly feed love’s unconscious language) and in New York, but also in a lost oasis of the Egyptian desert during the Napoleonic wars, in Athens and along the shores of a great lake centuries ago in the country of myth. The lovers are poets or soldiers, philosophers or students madly in love with poetry and poets. They are as well mermaids or panthers. Panthers? Yes, for it is the passion of the animal that drives all these lovers to bare themselves, and sometimes their claws, before the beloved. Misunderstandings are often, even inevitably the result. Seconded and witnessed by her passionate, truth-telling cats, Cixous’s narrator-writer returns unerringly to moments of errancy inflicted on address and language, those errors and faults when love, perhaps, is listening only to itself, without subject or object, lover or beloved, just love itself, l’amour même, l’amour m’aime, love loving me, in the letter box of memory.

Hans Urs von Balthasar (1905–1988) sets out to reunite Truth and holiness by returning the saints to their proper place at the heart of philosophy, theology, and metaphysics. Love Itself is Understanding is one of the first systematic treatments of Balthasar’s theology of the saints. Matthew Rothaus Moser presents Balthasar as an alternative to Idealist philosophy, a thinker who develops a religious metaphysics in which the saints’ practices of prayer and contemplation are the chief mode of knowing that the Truth of Being is divine love. Love Itself is Understanding casts new light on dominant themes in Balthasar’s thought and invites a renewed vision of the theological and metaphysical significance of the spiritual practices of prayer, obedience, and charity.

The latest novel by likely the greatest living Slovenian writer

Named one of the 100 greatest film books of all time by The Hollywood Reporter, this singular, warm-hearted, inspiring look at life itself is "the best thing Mr. Ebert has ever written" (Janet Maslin, New York Times). "To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out." Roger Ebert was the best-known film critic of his time. He began reviewing films for the Chicago Sun-Times in1967, and was the first film critic ever to win a Pulitzer Prize. He appeared on television for four decades. In 2006, complications from thyroid cancer treatment resulted in the loss of his abi)lity to eat, drink, or speak. But with the loss of his voice, Ebert became a more prolific and influential writer. And in Life Itself he told the full, dramatic story of his life and career. In this candid, personal history, Ebert chronicled it all: his loves, losses, and obsessions; his struggle and recovery from alcoholism; his marriage; his politics; and his spiritual beliefs. He wrote about his years at the Sun-Times, his colorful newspaper friends, and his life-changing collaboration with Gene Siskel. He shared his insights into movie stars and directors like John Wayne and Martin Scorsese. This is a story that only Roger Ebert could tell, filled with the same deep insight, dry wit, and sharp observations that his readers have long cherished,

Feminist icon bell hooks reminds us of the full spectrum of feeling we spend in love through her inspiring collection of love poetry, with a new introduction by Cole Arthur Riley, author of Black Liturgies. Written from the heart, When Angels Speak of Love is a book of fifty love poems by bell hooks, one our most beloved public intellectuals, and author of over twenty books, including the bestselling All About Love. Poem after poem, hooks challenges our views and experiences with love—tracing the links between seduction and surrender, the intensity of desire, and the anguish of death. “Love must clean house, choose memories to keep, and memories to let go,” she writes. These verses are expansive yet accessible—encompassing romantic love, to love of family, friends, or oneself. In any iteration, these poems remind us of both the beauty and possibility of love.