Land Of Silence

2017 INSPY Award winner, general fiction category Before Christ called her daughter . . . Before she stole healing by touching the hem of his garment . . . Elianna is a young girl crushed by guilt. After her only brother is killed while in her care, Elianna tries to earn forgiveness by working for her father’s textile trade and caring for her family. When another tragedy places Elianna in sole charge of the business, her talent for design brings enormous success, but never the absolution she longs for. As her world unravels, she breaks off her betrothal to the only man she will ever love. Then illness strikes, isolating Elianna from everyone, stripping everything she has left. No physician can cure her. No end is in sight. Until she hears whispers of a man whose mere touch can heal. After so many years of suffering and disappointment, is it possible that one man could redeem the wounds of body . . . and soul?

Published posthumously in 1921, Markham's illustrated history draws on his extensive knowledge of contemporary polar explorers and expeditions.

Elianna is a young girl crushed by guilt. After her only brother is killed while in her care, Elianna tries to earn forgiveness by working for her father's textile trade and caring for her family. When another tragedy places Elianna in sole charge of the business, her talent for design brings enormous success, but never the absolution she longs for. As her world unravels, she breaks off her betrothal to the only man she will ever love. Then illness strikes, isolating Elianna from everyone, stripping everything she has left.

A splendid collection from a true master It is often in solitude that a writer begins to understand herself. This becomes evident in The Land of Silence, May Sarton’s collection of poems previously published in the New Yorker and Harper’s Magazine, as Sarton searches for solitude and tries to understand the regrets and ecstasies associated with it. Images from these poems linger in the mind’s eye: a bird, a dream. Sarton’s verse feels real, yet it represents something more. Published in 1953, the year after Sarton won the Reynolds Lyric Award of the Poetry Society of America, The Land of Silence presents a poet at peak form.

In ancient Greece, the spoken word connoted power, whether in the free speech accorded to citizens or in the voice of the poet, whose song was thought to know no earthly bounds. But how did silence fit into the mental framework of a society that valued speech so highly? Here Silvia Montiglio provides the first comprehensive investigation into silence as a distinctive and meaningful phenomenon in archaic and classical Greece. Arguing that the notion of silence is not a universal given but is rather situated in a complex network of associations and values, Montiglio seeks to establish general principles for understanding silence through analyses of cultural practices, including religion, literature, and law. Unlike the silence of a Christian before an ineffable God, which signifies the uselessness of words, silence in Greek religion paradoxically expresses the power of logos--for example, during prayer and sacrifice, it serves as a shield against words that could offend the gods. Montiglio goes on to explore silence in the world of the epic hero, where words are equated with action and their absence signals paralysis or tension in power relationships. Her other examples include oratory, a practice in which citizens must balance their words with silence in very complex ways in order to show that they do not abuse their right to speak. Inquiries into lyric poetry, drama, medical writings, and historiography round out this unprecedented study, revealing silence as a force in its own right.

In ancient Greece, the spoken word connoted power, whether in the free speech accorded to citizens or in the voice of the poet, whose song was thought to know no earthly bounds. But how did silence fit into the mental framework of a society that valued speech so highly? Here Silvia Montiglio provides the first comprehensive investigation into silence as a distinctive and meaningful phenomenon in archaic and classical Greece. Arguing that the notion of silence is not a universal given but is rather situated in a complex network of associations and values, Montiglio seeks to establish general principles for understanding silence through analyses of cultural practices, including religion, literature, and law. Unlike the silence of a Christian before an ineffable God, which signifies the uselessness of words, silence in Greek religion paradoxically expresses the power of logos--for example, during prayer and sacrifice, it serves as a shield against words that could offend the gods. Montiglio goes on to explore silence in the world of the epic hero, where words are equated with action and their absence signals paralysis or tension in power relationships. Her other examples include oratory, a practice in which citizens must balance their words with silence in very complex ways in order to show that they do not abuse their right to speak. Inquiries into lyric poetry, drama, medical writings, and historiography round out this unprecedented study, revealing silence as a force in its own right.

This masterful translation of a recent Bolivian novel, En el pais del silencio, transports us to a mysterious, silent, and unfamiliar land where astonishing truths are placed within our grasp.

At the heart of Silence in the Land of Gold is an intrigue over a fortune lost in an air crash involving the Burmese military and the Kachin Independence Army. George Wilford is a foreign lawyer who must solve the mystery of the crash to save his own life and that of the woman with whom he falls in love.

Lilly and Jimmy were traveling through the woods late at night to escape from their hometown. They run into a bloodthirsty fiend, who attacks them within a moment’s notice. They are scattered, running wild into the night, as Jimmy gets dangerously wounded. They then get separated as Lilly’s left alone, where she too gets caught by the beast. As her human life ends, a new one starts—she becomes something else as she awakens in a new form. She runs wild as she is set free from her worries, ready to slaughter all who did her wrong in her town.

I do not follow ideas, I stumble into stories or into people; and I know that this is so big, I have to make a film. Very often, films come like uninvited guests, like burglars in the middle of the night. They are in your kitchen; something is stirring, you wake up at 3 a.m. and all of a sudden they come wildly swinging at you. When I write a screenplay, I write it as if I have the whole film in front of my eyes. Then it is very easy for me, and I can write very, very fast. It is almost like copying. But of course sometimes I push myself; I read myself into a frenzy of poetry, reading Chinese poets of the eighth and ninth century, reading old Icelandic poetry, reading some of the finest German poets like Hölderlin. All of this has absolutely nothing to do with the idea of my film, but I work myself up into this kind of frenzy of high-caliber language and concepts and beauty. And then sometimes I push myself by playing music, for example, a piano concerto by Beethoven, and I play it and write furiously. But none of this is an answer to the question of how you focus on a single idea for a film. And then, during shooting, you have to depart from it sometimes, while keeping it alive in its essence. —Werner Herzog, on filmmaking Werner Herzog doesn’t write traditional screenplays. He writes fever dreams brimming with madness, greed, humor, and dark isolation that can shift dramatically during production—and have materialized into extraordinary masterpieces unlike anything in film today. Harnessing his vision and transcendent reality, these four pieces of long-form prose earmark a renowned filmmaker at the dawn of his career.

The massacre on October 6, 1976, in Bangkok was brutal and violent, its savagery unprecedented in modern Thai history. Four decades later there has been no investigation into the atrocity; information remains limited, the truth unknown. There has been no collective coming to terms with what happened or who is responsible. Thai society still refuses to confront this dark page in its history. Moments of Silence focuses on the silence that surrounds the October 6 massacre. Silence, the book argues, is not forgetting. Rather it signals an inability to forget or remember—or to articulate a socially meaningful memory. It is the “unforgetting,” the liminal domain between remembering and forgetting. Historian Thongchai Winichakul, a participant in the events of that day, gives the silence both a voice and a history by highlighting the factors that contributed to the unforgetting amidst changing memories of the massacre over the decades that followed. They include shifting political conditions and context, the influence of Buddhism, the royal-nationalist narrative of history, the role played by the monarchy as moral authority and arbiter of justice, and a widespread perception that the truth might have devastating ramifications for Thai society. The unforgetting impacted both victims and perpetrators in different ways. It produced a collective false memory of an incident that never took place, but it also produced silence that is filled with hope and counter-history. Moments of Silence tells the story of a tragedy in Thailand—its victims and survivors—and how Thai people coped when closure was unavailable in the wake of atrocity. But it also illuminates the unforgetting as a phenomenon common to other times and places where authoritarian governments flourish, where atrocities go unexamined, and where censorship (imposed or self-directed) limits public discourse. The tensions inherent in the author’s dual role offer a riveting story, as well as a rare and intriguing perspective. Most of all, this provocative book makes clear the need to provide a place for past wrongs in the public memory.

#1 New York Times bestselling author Nora Roberts presents the electrifying conclusion to her powerful Circle Trilogy. Worlds have collided and centuries have elapsed as six people have brought their unique powers, their courage, and their hearts to a battle that could drown humanity in darkness… Her face, so pale when she’d removed her cloak, had bloomed when her hand had taken the sword. Her eyes, so heavy, so somber, had gone as brilliant as the blade. And had simply sliced through him, keen as a sword, when they’d met his… In the kingdom of Geall, the scholarly Moira has taken up the sword of her people. Now, as queen, she must prepare her subjects for the greatest battle they will ever fight—against an enemy more vicious than any they have seen. For Lilith, the most powerful vampire in the world, has followed the circle of six through time to Geall. Moira also has a personal score to settle. Vampires killed her mother—and now, she is ready to exact her revenge. But there is one vampire to whom she would trust her soul… Cian was changed by Lilith centuries ago. But now, he stands with the circle. Without hesitation, he will kill others of his kind—and has earned the respect of sorcerer, witch, warrior, and shape-shifter. But he wants more than respect from Moira—even though his desire for her makes him vulnerable. For how can a man with an eternity to live love a woman whose life is sure to end—if not by Lilith’s hand, then by the curse of time? “[Roberts] is one of the best writers in the romance world.”—The Best Reviews

Silence can be powerful. Kathy Kacer’s second book in her middle grade series about heroic rescues during WWII tells the tale of siblings Helen and Henry, and history’s most famous mime. Desperate to save them from the Nazis, Henry and Helen’s mother makes the harrowing decision to take her children from their home in 1940s Germany and leave them in the care of strangers in France. The brother and sister must hide their Jewish identity to pass for orphans being fostered at a convent in the foreign land. Visits from a local mime become the children’s one source of joy, especially for Henry, whose traumatic experience has left him a selective mute. When an informer gives them up, the children are forced to flee yet again from the Nazis, but this time the local mime—a not yet famous Marcel Marceau—risks everything to try to save the children. Masters of Silence shows award-winning author Kathy Kacer at the top of her craft, bringing to light the little-known story of Marceau’s heroic work for the French Resistance. Marceau would go on to save hundreds of children from Nazi concentration camps and death during WWII. In characteristic Kacer style, Masters of Silence is dramatic and engaging, and highlights the courage of both those rescuing and the rescued themselves. Wenting Li’s chapter heading illustrations and evocative covers provide the perfect visuals for the series.