Presents critical essays reflecting a variety of schools of criticism for The sound and the fury.

While it met with only limited success when published in 1929, this novel has since become one of the most popular of Faulkner's works. This study includes critical responses from the time of its publication to the present day as well as contemporary reassessments from a variety of critical perspectives.

This non-academic author brings the Garden of Eden myth alive as sophisticated poetry and a polemic for women and the consciousness of freedom. The myth is explored line by line using the tools of literary analysis and modern ideas, including Freudian concepts. The analysis shows how its "J" author, thought to be a woman in the royal court of Judah around 1000 BCE, uses the techniques of sound association, puns and other sophisticated means to get her messages across. The analysis probes how after thousands of years this myth still speaks to us about the critical human experiences of sex and death and their bigger brothers freedom and limitation.

For three long years after her husband, Nora Katsaros was on the run. And now that she’s finally found a place to call home, she’s not about to let anyone stand in the way of raising her daughter in peace – not even Charon, the womanizing, drop-dead-gorgeous former god who works at her restaurant. Unfortunately, Charon’s love-‘em-and-leave-‘em lifestyle brings trouble to Nora’s doorstep when a jealous husband shows up looking for a fight. When the man threatens Nora’s safety, Charon reacts with violence and soon finds himself under arrest. At the same time, the confrontation causes Nora to manifest the powers of an ancient Greek Fury. Struggling to adapt to her new life as a goddess of vengeance, Nora is desperate to find a way to make the assault charges against Charon disappear before bad publicity destroys her livelihood and the authorities look too closely at his past. When a friend suggests a way to deprive the prosecution of its key witness and keep the case from going to trial, Nora is forced to consider the unthinkable - a marriage of convenience to the accused!

From the creator of the Escape from Furnace series, a ferocious epic of supernatural terror, perfect for Stephen King fans Imagine if one day, without warning, the entire human race turns against you, if every person you know, every person you meet becomes a bloodthirsty, mindless savage . . . That's the horrifying reality for Cal, Brick, and Daisy. Friends, family, even moms and dads, are out to get them. Their world has the Fury. It will not rest until they are dead. In Alexander Gordon Smith's adrenaline-fueled saga, Cal and the others must uncover the truth about what is happening before it destroys them all. But survival comes at a cost. In their search for answers, what they discover will launch them into battle with an enemy of unimaginable power.

Is God loving? The Bible says that God is love; however, it also portrays a God that floods the earth, takes the lives of the firstborn in Egypt, and lashes out time and again in His fury. How can a God of love be synonymous with the God of fury displayed in the Old Testament? Are we fools? The fear of the Lord is the beginning of knowledge; fools despise wisdom and instruction (Pro 1:7). Twice in the Proverbs were told that the beginning of knowledge and wisdom is the fear of the Lord. Is it possible that we have become altogether ignorant simply because weve tossed out the Bibles basic teaching on Gods fury? The Fury of God penetrates the paradox and shows that we cannot truly understand Gods love until we fully understand His fury. If believers today are truly abiding in Gods Word, they will come face-to-face with the fury of God, and its truth will bring satisfaction to their souls. Gods people must know the truth. They longingly desire it. The truth is that our God is a consuming fire. He is a jealous God. He is a holy God. He is an unchanging God. He is a triune God. Our God is a God of fury. It is that God, the God of the Scriptures, whom I hope to resurrect in the hearts and minds of His people with this book.

Gabon’s first female novelist, Angèle Rawiri probed deeper into the issues that writers a generation before her—Mariama Bâ and Aminata Sow Fall—had begun to address. Translated by Sara Hanaburgh, this third novel of the three Rawiri published is considered the richest of her fictional prose. It offers a gripping account of a modern woman, Emilienne, who questions traditional values and seeks emancipation from them. Emilienne’s active search for feminism on her own terms is tangled up with cultural expectations and taboos of motherhood, marriage, polygamy, divorce, and passion. She completes her university studies in Paris; marries a man from another ethnic group; becomes a leader in women’s liberation; enjoys professional success, even earning more than her husband; and eventually takes a female lover. Yet still she remains unsatisfied. Those closest to her, and even she herself, constantly question her role as woman, wife, mother, and lover. The tragic death of her only child—her daughter Rékia—accentuates Emilienne’s anguish, all the more so because of her subsequent barrenness and the pressure that she concede to her husband’s taking a second wife. In her forceful portrayal of one woman’s life in Central Africa in the late 1980s, Rawiri prompts us not only to reconsider our notions of African feminism and the canon of francophone African women’s writing but also to expand our awareness of the issues women face across the world today in the workforce, in the bedroom, and among family and peers.