One of Wharton's earliest descriptions of her heroine, in the library of her bachelor friend and sometime suitor Lawrence Selden, indicates that she appears "as though she were a captured dryad subdued to the conventions of the drawing room." Indeed, herein lies Lily's problem. She has, we're told, "been brought up to be ornamental," and yet her spirit is larger than what this ancillary role requires. By today's standards she would be nothing more than a mild rebel, but in the era into which Wharton drops her unmercifully, this tiny spark of character, combined with numerous assaults by vicious society women and bad luck, ultimately renders Lily persona non grata. Her own ambivalence about her position serves to open! the door to disaster: several times she is on the verge of ! "good" m arriage and squanders it at the last moment, unwilling to play by the rules of a society that produces, as she calls them, "poor, miserable, marriageable girls.
Lily's rather violent tumble down the social ladder provides a thumbnail sketch of the general injustices of the upper classes (which, incidentally, Wharton never quite manages to condemn entirely, clearly believing that such life is cruel but without alternative). From her start as a beautiful woman at the height of her powers to her sad finale as a recently fired milliner's assistant addicted to sleeping drugs, Lily Bart is heroic, not least for her final admission of her own role in her downfall. "Once--twice--you gave me the chance to escape from my life and I refused it: refused it because I was a coward," she tells Selden as the book draws to a close. All manner of hideous socialite beasts--some of whose treatment by Wharton, such as the token social-climbing Jew, Simon Rosedale, ! date the book unfortunately--wander through the novel while Lily plummets. As her tale winds down to nothing more than the remnants of social grace and cold hard cash, it's hard not to agree with Lily's own assessment of herself: "I have tried hard--but life is difficult, and I am a very useless person. I can hardly be said to have an independent existence. I was just a screw or a cog in the great machine I called life, and when I dropped out of it I found I was of no use anywhere else." Nevertheless, it's even harder not to believe that she deserved better, which is why The House of Mirth remains so timely and so vital in spite of its crushing end and its unflattering portrait of what life offers up. --Melanie RehakThis collection was designed for optimal navigation on Kindle and other electronic devices. It is indexed alphabetically, chronologically and by category, making it easier to access individual books, stories and poems. This collect! ion offers lower price, the convenience of a one-time download! , and it reduces the clutter in your digital library. All books included in this collection feature a hyperlinked table of contents and footnotes. The collection is complimented by an author biography. Table of Contents List of Works by Genre and TitleList of Works in Alphabetical OrderList of Works in Chronological OrderEdith Wharton Biography Novels:The Age of InnocenceThe Bunner SistersThe Custom of the CountryEthan FromeThe Fruit of the TreeThe Glimpses of the MoonThe House of MirthThe ReefSanctuarySummerThe TouchstoneThe Valley of Decision Non-Fiction:Fighting FranceIn Morocco Short Stories Collections:Crucial InstancesThe Descent of Man and Other StoriesThe Greater InclinationThe Hermit and the Wild WomanTales of Men and Ghosts Short Stories:AfterwardThe Angel at the GraveAutres TempsThe Best ManThe Blond BeastThe Bolted DoorThe ChoiceComing HomeThe Confessional"Copy" A DialogueA CowardA Cup of Cold WaterThe Daunt DianaThe DebtThe Descent of ManThe DilettanteThe Duchess at Pra! yerThe EyesExpiationFull CircleThe Fulness of LifeThe Hermit and the Wild WomanHis Father's SonThe House of The Dead HandIn TrustA JourneyKerfolThe Lady's Maid's BellThe Last AssetThe LegendThe LetterThe LettersThe Long RunMadame de TreymesThe Mission of JaneThe Moving FingerMrs. Manstey's ViewThe Muse's TragedyThe Other TwoThe PelicanThe PortraitThe Pot-BoilerThe PretextThe QuicksandThe ReckoningThe RecoveryThe RembrandtSouls BelatedThe Triumph of NightThe Twilight of the GodA Venetian Night's EntertainmentThe VerdictXingu Poetry:Artemis to Actaeon, and Other VersesBotticelli's Madonna in the LouvreThe SonnetThis collection was designed for optimal navigation on Kindle and other electronic devices. It is indexed alphabetically, chronologically and by category, making it easier to access individual books, stories and poems. This collection offers lower price, the convenience of a one-time download, and it reduces the clutter in your digital library. All books included in th! is collection feature a hyperlinked table of contents and foot! notes. T he collection is complimented by an author biography. Table of Contents List of Works by Genre and TitleList of Works in Alphabetical OrderList of Works in Chronological OrderEdith Wharton Biography Novels:The Age of InnocenceThe Bunner SistersThe Custom of the CountryEthan FromeThe Fruit of the TreeThe Glimpses of the MoonThe House of MirthThe ReefSanctuarySummerThe TouchstoneThe Valley of Decision Non-Fiction:Fighting FranceIn Morocco Short Stories Collections:Crucial InstancesThe Descent of Man and Other StoriesThe Greater InclinationThe Hermit and the Wild WomanTales of Men and Ghosts Short Stories:AfterwardThe Angel at the GraveAutres TempsThe Best ManThe Blond BeastThe Bolted DoorThe ChoiceComing HomeThe Confessional"Copy" A DialogueA CowardA Cup of Cold WaterThe Daunt DianaThe DebtThe Descent of ManThe DilettanteThe Duchess at PrayerThe EyesExpiationFull CircleThe Fulness of LifeThe Hermit and the Wild WomanHis Father's SonThe House of The Dead HandIn TrustA JourneyKe! rfolThe Lady's Maid's BellThe Last AssetThe LegendThe LetterThe LettersThe Long RunMadame de TreymesThe Mission of JaneThe Moving FingerMrs. Manstey's ViewThe Muse's TragedyThe Other TwoThe PelicanThe PortraitThe Pot-BoilerThe PretextThe QuicksandThe ReckoningThe RecoveryThe RembrandtSouls BelatedThe Triumph of NightThe Twilight of the GodA Venetian Night's EntertainmentThe VerdictXingu Poetry:Artemis to Actaeon, and Other VersesBotticelli's Madonna in the LouvreThe SonnetThis book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery."The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth," warns Ecclesiastes 7:4, and so does the novel by Edith Wharton that takes its title from this call to heed. New York at the turn of the century was a time of opulence and frivolity for those who could a! fford it. But for those who couldn't and yet wanted desperat! ely to k eep up with the whirlwind, like Wharton's charming Lily Bart, it was something else altogether: a gilded cage rather than the Gilded Age.
One of Wharton's earliest descriptions of her heroine, in the library of her bachelor friend and sometime suitor Lawrence Selden, indicates that she appears "as though she were a captured dryad subdued to the conventions of the drawing room." Indeed, herein lies Lily's problem. She has, we're told, "been brought up to be ornamental," and yet her spirit is larger than what this ancillary role requires. By today's standards she would be nothing more than a mild rebel, but in the era into which Wharton drops her unmercifully, this tiny spark of character, combined with numerous assaults by vicious society women and bad luck, ultimately renders Lily persona non grata. Her own ambivalence about her position serves to open the door to disaster: several times she is on the verge of "good" marriage and squanders it at! the last moment, unwilling to play by the rules of a society that produces, as she calls them, "poor, miserable, marriageable girls.
Lily's rather violent tumble down the social ladder provides a thumbnail sketch of the general injustices of the upper classes (which, incidentally, Wharton never quite manages to condemn entirely, clearly believing that such life is cruel but without alternative). From her start as a beautiful woman at the height of her powers to her sad finale as a recently fired milliner's assistant addicted to sleeping drugs, Lily Bart is heroic, not least for her final admission of her own role in her downfall. "Once--twice--you gave me the chance to escape from my life and I refused it: refused it because I was a coward," she tells Selden as the book draws to a close. All manner of hideous socialite beasts--some of whose treatment by Wharton, such as the token social-climbing Jew, Simon Rosedale, date the book unfortunate! ly--wander through the novel while Lily plummets. As her tale! winds d own to nothing more than the remnants of social grace and cold hard cash, it's hard not to agree with Lily's own assessment of herself: "I have tried hard--but life is difficult, and I am a very useless person. I can hardly be said to have an independent existence. I was just a screw or a cog in the great machine I called life, and when I dropped out of it I found I was of no use anywhere else." Nevertheless, it's even harder not to believe that she deserved better, which is why The House of Mirth remains so timely and so vital in spite of its crushing end and its unflattering portrait of what life offers up. --Melanie RehakThis book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.
CliffsNotes on The House of Mirth takes you into the waning years of the Gilded Age and the moral bankruptcy of New York City's elite class. Edith Wharton's story of a woman â€" whose beauty causes men to desire to possess her and women to be jealous of her â€" reflects the complicated struggle of the individual against the social strictures of a powerful, and triumphant, moneyed class.
This concise supplement to the satirically critical! The House of Mirth, helps you understand the overall structure of the novel, actions and motivations of the characters, and the social and cultural perspectives of the author. Features that help you study include
Classic literature or modern modern-day treasure â€" you'll understand it all with expert information and insight from CliffsNotes study guides.
DVD Features:
Deleted Scenes
Deleted Scenes
Deleted Scenes
Deleted Scenes
Greg Heffley is in big trouble. School property has been damaged, and Greg is the prime suspect. But the crazy thing is, he’s innocent. Or at least sort of.
The authorities are closing in, but when a surprise blizzard hits, the Heffley family is trapped indoors. Greg knows that when the snow melts he’s going to have to face the music, but could any punishment be worse than being stuck inside with your family for the holidays?
Amazon Exclusive: A Q&A with Jeff Kinney
Question: Given all the jobs that you have--game designer, fatherhood, Diary of a Wimpy Kid movie work, etc.,--do you have a certain time that you set aside to write?
Kinney: I still treat writing like a hobby, working mostly at night and sometimes on weekends. But when a deadline looms my hobby time gets extended into the wee hours of the night. It's not uncommon for me to work until 4:00 a.m., and I'm usually back at work by 9:00 a.m.
Q: Did you get to choose which character you would play in the Wimpy Kid films (Mr. Hills)? What do you enjoy most about working on the movies?
Kinney: I never any real desire to appear in the Wimpy Kid films, but one day my wife encouraged me to be an extra in one of the crowd scenes. So I walked onto the set, ready to ask the assistant director to put me somewhere in the back. It happened that right at that moment the dire! ctor was looking for someone to play the role of Mr. Hills, Ho! lly Hill s's father. What I didn't realize was that I'd be front and center in the church scene, and in the new movie, I'm even more prominent. I'm incredibly self-conscious so appearing on-camera was a real stretch for me.
Q: In 2009 Time magazine named you as one of the 100 Most Influential People in the World--what’s the first thing you did after you found out?
Kinney: I thought it was a practical joke, so I tried to track down the source of the joke. I eventually reached a voicemail of a reporter who said they worked for Time, and at that point I thought it was just a well-planned practical joke. It took me a while to realize it was for real. It was a big honor, but I don't take it very seriously. I'm the fourth most influential person in my own house.
Q: Would you ever consider making Wimpy Kid into a newspaper comic strip or creating another one? Do you have any favorite comic strips that you currently read?!
Kinney: I've considered it. I set out to become a newspaper cartoonist but failed to break in. But I like the freedom books give me, so it would be tough to cram my ideas into three or four panels.
Q: What is (or could be) you motto in life?
Kinney: I was inspired to write by a Benjamin Franklin quote: "Well done is better than well said." But I always encourage kids to "create something great," because the tools to create something original and find an audience are available to them like never before.
Q: What was your favorite year in school, and why?
Kinney: Fifth grade was my favorite year. I had a great teacher, Mrs. Norton, who encouraged me to be funny and challenged me to be a better artist and joke-teller than I was. I liked it that she didn't coddle me.
Q: Kids now ask for a book that is “like Diary of a Wimpy Kid,†and with this series you’ve cr! eated a whole new subset of books for young readers--how does ! it feel to be the person behind such massive book enjoyment, reaching reluctant readers, and spawning any number of titles that aspire to be “the next Wimpy Kid?â€
Kinney: I'm happy that kids are reading. I think graphical books reach kids who might otherwise see books as work. Books should be fun!
This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.
English as a Second Language teachers will appreciate the time-saving value of these exercises. Copiable for non-commercial classroom use, they will save the teacher the time of creating their own exercises. Students love learning English from films--great for vocabulary develoment (acadamic, idiomatic, & slang), listening, discussion and American culture. The films chosen for this volume are suited for high intermediate and advanced students.Show off your team spirit with this officially licensed Street License Pl! ate displaying your favorite team logo in bright, full-color graphics. The license plate measures 12" x 6" and the four slots make it easy to display on the front of a car or to tack up on a wall.
Featuring six additional chapters, this revised edition reveals the provocative story of one of the most shameful episodes in Australia's history, providing a firsthand account of the 1975 deaths of five young television reporters killed by the Indonesian military in the East Timor border town of Balibo. Chronicling how the reporters died as well as the eventual execution of a sixth reporter who attempted to investigate their fate, this gripping depiction also documents the personal narratives behind the families of the v! ictims and their heartbreaking struggle for the truth. Contending that the Australian government was always aware of the circumstances of the killings, this argument maintains that their cover-up was a key factor in Indonesia's decision to invade and occupy East Timor. With a striking collection of photographs from its thrilling companion film, this searing recollection is as much an investigation of the Indonesian occupation of East Timor as it is a case study of the Balibo killings.
Though fresh from her Titanic experience, Kate Winslet is no drippy hippy, bringing a refreshing feistiness to her role and looking fetching swathed in diaphanous layers. As her two daughters, Bella Riza (Bea, the wide-eyed younger one) and Carrie Mullan (Lucy, the sensible one) are brilliant discoveries--unselfconscious, charmingly quirky! , and enjoying a camaraderie that belies their difference in characters. Completing the family unit is Julia's lover, the endearingly unreliable Bilal (a fiery performance from Saïd Taghmaoui). When the money runs out, their adventures begin and the resilience and practicality of the girls is contrasted throughout with the dreaminess of their mother, her sense of duty vying with her quest for self-discovery. Visually, it's a veritable feast as we're pitched from the color and cacophony of the marketplace to the dusty harshness of the mountains. And that elusive title--which is never explained in the film--is in fact a phrase coined by the girls as a term of approbation. --Harriet Smith
The debut novel from the author of Summer at Gaglow, called "a near-seamless meshing of family feeling, history and imagination" by the New York Times Book Review. Escaping gray London in 1972, a beautiful, determined mother takes her daughters, aged 5 and 7, to Morocc! o in search of adventure, a better life, and maybe love. Hi! deous Ki nky follows two little English girls -- the five-year-old narrator and Bea, her seven-year-old sister -- as they struggle to establish some semblance of normal life on a trip to Morocco with their hippie mother, Julia. Once in Marrakech, Julia immerses herself in Sufism and her quest for personal fulfillment, while her daughters rebel -- the older by trying to recreate her English life, the younger by turning her hopes for a father on a most unlikely candidate.
Shocking and wonderful, Hideous Kinky is at once melancholy and hopeful. A remarkable debut novel from one of England's finest young writers, Hideous Kinky was inspired by the author's own experiences as a child. Esther Freud, daughter of the artist Lucian Freud and great-granddaughter of Sigmund Freud, lived in Marrakech for one and a half years with her older sister Bella and her mother. Hideous Kinky is now a major motion picture starring Kate Winslet ("Titanic," "Sense and Sensibili! ty").
Hideous Kinky begins as a small, cheerful autobiographical novel following Thurber's variation on Wordsworth: "Humor is emotional chaos recollected in tranquillity." In the mid-1960s, two girls, ages 5 and 7, travel with their mother from London to Marrakech. Also along for the ride are John, Mum's boyfriend, and Maretta, John's wife. Though the author is a descendant of Sigmund Freud, the title of her first book has little to do with the pleasure principle. Instead, it is the only phrase the sisters have heard Maretta speak, one that quickly becomes an all-purpose epithet: "One of the shepherds whistled and the dogs slung to the ground. Bea raised an eyebrow as she passed me. 'Hideous kinky,' she whispered." Esther Freud's vocabulary and tone veer easily from the childlike to the more sophisticated, particularly when she recounts speech or circumstances beyond a child's comprehension.Once the group arrives in Marrakech, John and Maretta! split off, and Mum hooks up with various men and pursues spi! ritualit y. The children, meanwhile, want nothing more than to be normal--or at least not to be so embarrassed by their mother's Islamic fervor: "'Oh Mum, please...' I was prepared to beg. 'Please don't be a Sufi.'" In Hideous Kinky, people appear and disappear with little reason or explanation. Though most of the characters are differentiated by one outstanding feature, Bilal, the itinerant builder and magician's apprentice who becomes one of Mum's lovers, is more complex. The narrator loves and trusts him from the start, and when she asks him if he will eventually return to England with them, "Bilal closed his eyes and began to hum along with Om Kalsoum, whose voice crackled and wept through a radio in the back of the café."
Hideous Kinky is curiously divided. The first half is a lark. The girls explore Marrakech, picking up the language and even passing themselves off as beggars. The family's only worries are about money, and these are soon cure! d by the next bank draft from their father. But the second half is more melancholy. Mum's religious zeal becomes rather less endearing, and as the girls' adventures turn more dangerous, local rituals and customs begin to lose their charm: "I didn't like to think about the camel festival. The camel, garlanded in flowers, collected us from our house in the Mellah, and we had followed it out of the city and high into the mountains in a procession of singing." The parade ends, however, with the animal's beheading. "Occasionally I looked at Bea to see if she was running over these events like I was, the sound effects living their own life behind her eyes, but she gave nothing away."
In the end, Hideous Kinky is a novel less about an exotic country seen through an innocent's eyes than about family, about having a deeply embarrassing mother, an older sister who does everything before you, and a distant father. It escapes sentimentality through simplicit! y: "Bilal was my Dad. No one denied it when I said so." The a! uthor, h er sister, and her mother spent two years in Morocco, and while Esther Freud may not have invented her subject, she has re-created it with a light touch and delicate irony. Hideous Kinky journeys back to the early 1970s to Marrakesh, that hippy mecca for everyone from Eric Clapton and Jimi Hendrix to Gillies MacKinnon, the director of this movie. Here you'll find one nice but confused middle-class young woman escaping the daily grind of a drab London with her two young daughters in tow. Whereas Esther Freud's book was told from the younger girl's perspective, the film-script places Julia centre-stage as she searches for what she describes wistfully as "the annihilation of the ego."
Though fresh from her Titanic experience, Kate Winslet is no drippy hippy, bringing a refreshing feistiness to her role and looking fetching swathed in diaphanous layers. As her two daughters, Bella Riza (Bea, the wide-eyed younger one) and Carrie Mullan (Lucy, the sensible o! ne) are brilliant discoveries--unselfconscious, charmingly quirky, and enjoying a camaraderie that belies their difference in characters. Completing the family unit is Julia's lover, the endearingly unreliable Bilal (a fiery performance from Saïd Taghmaoui). When the money runs out, their adventures begin and the resilience and practicality of the girls is contrasted throughout with the dreaminess of their mother, her sense of duty vying with her quest for self-discovery. Visually, it's a veritable feast as we're pitched from the color and cacophony of the marketplace to the dusty harshness of the mountains. And that elusive title--which is never explained in the film--is in fact a phrase coined by the girls as a term of approbation. --Harriet SmithTwo little girls are taken by their mother to Morocco on a 1960s pilgrimage of self-discovery. For Mum, it is not just an escape from the grinding conventions of English life but a quest for personal fulfilment; her child! ren, however, seek something more solid and stable amidst the ! shifting desert sands. 'Just open the book and begin, and instantly you will be first of all charmed, then intrigued and finally moved by this fascinating story' - "Spectator".While there's little of the sexual titillation hinted at in the title, director Gillies MacKinnon's '60s-period adaptation of Esther Freud's novel instead focuses on pilgrimages both personal and spiritual through the eyes of a young child whose mother has escaped an unhappy English marriage for adventure and enlightenment in Marrakesh and Algeria. The soundtrack serves the proceedings well, balancing period rock pieces with often captivating samples of North Africa's rich indigenous folk music. Even the more familiar Western pieces here (Canned Heat's "On the Road Again," "Here Comes the Sun" by Richie Havens, Jefferson Airplane's "White Rabbit" and "Somebody to Love") find new resonance in this context, as do less familiar gems such as The Incredible String Band's "Worlds They Rise and Fall" and "Road" by Ni! ck Drake. Jil Jilala's "Baba Baba Mektoubi" and "The Tortoise's Song" by Khalifa Ould Eide and Dimi mint Abba offer mesmerizing, if very different, introductions to the musics of North Africa, while the title-cut collaboration between Kudsi Erguner and members of the London Pops Orchestra forges a satisfying, albeit slightly New Age-y, alliance between East and West. --Jerry McCulleyHideous Kinky journeys back to the early 1970s to Marrakesh, that hippy mecca for everyone from Eric Clapton and Jimi Hendrix to Gillies MacKinnon, the director of this movie. Here you'll find one nice but confused middle-class young woman escaping the daily grind of a drab London with her two young daughters in tow. Whereas Esther Freud's book was told from the younger girl's perspective, the film-script places Julia centre-stage as she searches for what she describes wistfully as "the annihilation of the ego."
Though fresh from her Titanic experience, Kate Winslet is ! no drippy hippy, bringing a refreshing feistiness to her role ! and look ing fetching swathed in diaphanous layers. As her two daughters, Bella Riza (Bea, the wide-eyed younger one) and Carrie Mullan (Lucy, the sensible one) are brilliant discoveries--unselfconscious, charmingly quirky, and enjoying a camaraderie that belies their difference in characters. Completing the family unit is Julia's lover, the endearingly unreliable Bilal (a fiery performance from Saïd Taghmaoui). When the money runs out, their adventures begin and the resilience and practicality of the girls is contrasted throughout with the dreaminess of their mother, her sense of duty vying with her quest for self-discovery. Visually, it's a veritable feast as we're pitched from the color and cacophony of the marketplace to the dusty harshness of the mountains. And that elusive title--which is never explained in the film--is in fact a phrase coined by the girls as a term of approbation. --Harriet Smith
5:28 AM
admin
