The White Goddess: An Encounter is a mesmerising tale of sex, lies and divided loyalties. Set between the magic of a bohemian Majorca and the horror of Franco's Madrid, it is a haunting evocation of a lost time and place, dominated by the extraordinary power of Robert Graves, one of the 20th century's greatest writers. When 10-year-old Simon Gough went to Majorca in 1953 he thought he had landed in paradise. Far from the misery of his English boarding school and his parents' divorce, he fell in love - with the tiny village of Deya, with his wild cousin Juan and most of all with his beloved "Grand-Uncle" Robert Graves. When he returned in 1960, paradise had been overrun by beatniks and marijuana - and Simon liked it all the more. But soon he fell for the enchanting Margot Callas, Robert Graves' muse. He found himself entangled in a web of lies and deceit and playing a game whose rules he didn't understand. The repercussions would haunt him for the rest of his life. The Observer says: "Impassioned, with all the intensive drama a youthful affair entails, this "autobifantasy" (as Gough calls it) is as much about a love of a place - the freedom and beauty of Dei? contrasts with the brutality of Franco's Madrid - as of a person. In fact, some of the finest parts of the book are not about Callas but the touching portrait of Graves and his wife Beryl; a tender, observant record both of their relationship and their real selves in their later years."

The White Goddess is a mesmerising tale of sex, lies and divided loyalties. Set between the magic of a bohemian Majorca and the horror of Franco's Madrid, it is a haunting evocation of a lost time and place, dominated by the extraordinary power of Robert Graves, one of the 20th century's greatest writers. When Simon Gough returns to Majorca in 1960, as the paradise of his childhood has been overrun by beatniks and marijuana. Here, he falls for the enchanting Margot Callas, Robert Graves' muse. Simon is soon playing a game with rules he doesn't understand.

The White Goddess is perhaps the finest of Robert Graves's works on the psychological and mythological sources of poetry. In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.

"When 10 year old Simon Gough visited Majorca in 1953 he though he had landed in paradise. Far from the misery of his English boarding school and his parents' divorce, he fell in love - with the tiny village of Deya, with his wild cousin Juan and most of all with his beloved 'Grand-Uncle' Robert Graves. When he returned in 1960, paradise had been overrun by beatniks and marijuana - and Simon liked it all the more. But soon he fell for the enchanting Margot Callas, Robert Graves' muse. He found himself entangled in a web of lies and deceit and playing a game whose rules he didn't understand. The repercussions would haunt him for the rest of his life."--Publisher description.

Pursuing her desire to be a knight, Alanna learns many things in her role as squire to Prince Jonathan, but fears Duke Roger, an ambitious sorcerer with whom she knows she will one day have to deal.

Islanders and visitors to the Islands describe spooky and awe-inspiring meetings with the goddess Pele."

Anger now dominates American politics. It wasn’t always so. “Happy Days Are Here Again” was FDR’s campaign song in 1932. By contrast, candidate Kamala Harris’s 2020 campaign song was Mary J. Blige’s “Work That” (“Let ‘em get mad / They gonna hate anyway”). Both the left and right now summon anger as the main way to motivate their supporters. Post-election, both sides became even more indignant. The left accuses the right of “insurrection.” The right accuses the left of fraud. This is a book about how we got here—about how America changed from a nation that could be roused to anger but preferred self-control, to a nation permanently dialed to eleven. Peter W. Wood, an anthropologist, has rewritten his 2007 book, A Bee in the Mouth: Anger in America, which predicted the new era of political wrath. In his new book, he explains how American culture beginning in the 1950s made a performance art out of anger; how and why we brought anger into our music, movies, and personal lives; and how, having step by step relinquished our old inhibitions on feeling and expressing anger, we turned anger into a way of wielding political power. But the “angri-culture,” as he calls it, doesn’t promise happy days again. It promises revenge. And a crisis that could destroy our republic.