The swooning Victorian ladies and the 1950s housewives genuinely needed to be liberated. That much is indisputable. So, First-Wave feminists held rallies for women's suffrage. Second-Wave feminists marched for Prohibition, jobs, and abortion. Today, Third-Wave feminists stand firmly for nobody's quite sure what. But modern women--who use psychotherapeutic antidepressants at a rate never before seen in history--need liberating now more than ever. The truth is, feminists don't know what liberation is. They have led us into a very boring dead end. Eve in Exile sets aside all stereotypes of mid-century housewives, of China-doll femininity, of Victorians fainting, of women not allowed to think for themselves or talk to the men about anything interesting or important. It dismisses the pencil-skirted and stiletto-heeled executives of TV, the outspoken feminists freed from all that hinders them, the brave career women in charge of their own destinies. Once those fictionalized stereotypes are out of the way--whether they're things that make you gag or things you think look pretty fun--Christians can focus on real women. What did God make real women for?

And their home is nothing like she'd expected, like nothing the Freds had prepared them for."--Back cover

"On September 11, 1973, Chile's General Pinochet led a quick and brutal military coup over the Allende government and then installed a dictatorship that controlled the country until late 1998. Many Allende sympathizers - and all free-thinking Chilean citizens, for that matter - were forced into exile or put into concentration camps." "Ignacio Lopez-Calvo argues that this event shaped Chilean narrative into two structural forms that roughly adhere to a social chronology: liberationist narrative, "cathartic," journalistic testimonies that provide models for revolutionary behavior against authoritarianism; and demystifying narrative, which uses the events of 1973, as well as the colonial aspirations of European countries, as a "paradise lost" backdrop in which the characters are able to create their own non-political realities that become models of democratization." "At the same time, Lopez-Calvo demonstrates how Chilean writers in particular and Southern Cone writers in general - while sharing the same ontological sources with European literature - have struggled to define their own genre separate from North American and European narrative forms. He provides an exhaustive survey of major Chilean authors, including Jose Donoso, Fernando Algria, Ianos Magallanes, Hernan Valdes, Jorge Edwards, Ana Vasquez, Ariel Dorfman, and many others."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

"This is no small achievement. For the language-lover the translation provides elegant, flowing English verse, for the classicist it conveys close approximation to the Latin meaning coupled with a sense of the movement and rhythmic variety of Ovid's language"—Geraldine Herbert-Brown, editor of Ovid's Fasti: Historical Readings at its Bimillennium "This book fills a gap. There is no similar annotated English translation of Ovid's exile poetry. Thoroughly grounded in Ovidian scholarship, Green's introduction and notes are helpful and informative. The translation is accurate, idiomatic, and lively, closely imitating the Latin elegiac couplet and capturing Ovid's changing moods."—Karl Galinsky, author of Ovid's Metamorphoses: An Introduction to the Basic Aspects

European Writers in Exile collects a series of original essays that address the writers’ universal existential dilemma, when viewed through the lens of exile: who am I, where am I from, and what do I write, and to whom? While we often understand the term “exile” to refer to writers who have either been forced to leave their home country or region or chosen self-exile, this term need not be defined so narrowly, and the contributors to this volume explore a range of interesting and evolving definitions. Various countries in Europe have long been both a refuge for people and writers from many countries and a strife-torn region which has forced many to flee within the continent or beyond it. The phrase “in exile” involves writers moving across borders in multiple directions and for multiple reasons, including for reasons of duress or personal quest, and these themes are addressed and critiqued in these essays. This volume naturally examines the cataclysmic and near-universal exilic experiences relating to the world wars, including essays on Thomas Mann, Vladimir Nabokov, Hannah Arendt and Leo Strauss. Additionally, essays address the unique early twentieth-century experiences of Emile Zola, Franz Kafka, Joseph Conrad, and James Joyce. More contemporary essay subjects include Milan Kundera, Norman Manea, Eva Hoffman, Caryl Phillips, and W. G. Sebald. This collection of transnational, globalized European literature studies envisions understanding the intersection of our contemporary world and various writers in exile in new cultural, historical, spatial, and epistemological frameworks. How does literary production in an increasingly globalized world—when seen from exile—affect a view back towards a country or region left behind? Or, conversely, how does exile push a writer to look outward to new (trans-)nationalized space(s)? These and other questions are important to investigate. Taken in sum, European Writers in Exile offers an academically rigorous, important, and cohesive volume.

A "novel based on an unexplored slice of World War II history, following a young Jewish girl whose family flees refined and urbane Vienna for safe harbor in the mountains of Bolivia"--