La Fleur Rouge The Red Rose written by Ruthe Ogilvie, Hilary Simone, 23 writes a beautiful musical and title, The Ginger Jar. She becomes engaged to the foremost writer of musical of the country-Gregory Wilcox, to help her instead he steals it and renames it and publish his name as the composer. He threatens her life if she exposes him, she discovers he stole every musical he put his name on. Hilary turns to jennifer Gordon, a beautiful black woman and her former dorm mate in college who advises her to call Jay Stewart, Greg's Producer. Jay doesn't believe when she tells him Greg stole her musical, it becomes a smash hit on broadway under the name of The Pepper Pop with Greg's name on it as the author and the composer. Greg hires a detective, Zack Davis to follow her every where. When she's found, Greg was his lies as her fired from every job and evicted from every apartment. In desperation, Hilary changes her name to Hildy Swenson.

In her Introduction, Tymieniecka states the core theme of the present book sharply: Is culture an excess of nature's prodigious expansiveness - an excess which might turn out to be dangerous for nature itself if it goes too far - or is culture a 'natural', congenial prolongation of nature-life? If the latter, then culture is assimilated into nature and thus would lose its claim to autonomy: its criteria would be superseded by those of nature alone. Of course, nature and culture may both still be seen as being absorbed by the inner powers of specifically human inwardness, on which view, human being, caught in its own transcendence, becomes separated radically in kind from the rest of existence and may not touch even the shadow of reality except through its own prism. Excess, therefore, or prolongation? And on what terms? The relationship between culture and nature in its technical phase demands a new elucidation. Here this is pursued by excavating the root significance of the 'multiple rationalities' of life. In contrast to Husserl, who differentiated living types according to their degree of participation in the world, the phenomenology of life disentangles living types from within the ontopoietic web of life itself. The human creative act reveals itself as the Great Divide of the Logos of Life - a divide that does not separate but harmonizes, thus dispelling both naturalistic and spiritualistic reductionism.