Download 100 One-Night Reads: A Book Lover's Guide by David C. Major, John S. Major PDF

By David C. Major, John S. Major

Readers all over the place comprehend that not anything soothes the spirit like sinking right into a awesome ebook. If you're one among that chuffed band, you'll quick realize the authors of this encouraged interpreting consultant as kindred spirits. the following David and John significant have selected 100 books which can every one be delightfully ate up in a single quiet night. overlaying different types from myth to fiction, historical past to humor, secret to memoir, this addictive quantity positive factors books to check all of your moods—by either celebrated writers and talented unknowns, including:

•  Russell Baker  •  Willa Cather  • Raymond Chandler  •  F. Scott Fitzgerald  • Graham Greene  •  Edith Hamilton  •  Dashiell Hammett  •  Helene Hanff  •  Ernest Hemingway  •  Patricia Highsmith  • Shirley Jackson  •  Henry James  •  W. Somerset Maugham  •  Mary McCarthy  •  Walter Mosley  •  Vladimir Nabokov  •  Patrick O'Brian  •  Barbara Pym  •  Phillip Roth  •  Vikram Seth  •  Isaac Bashevis Singer  •  C. P. Snow  •  Dylan Thomas  •  Evelyn Waugh  •  Edith Wharton  •  Laura Ingalls Wilder  •  Virginia Woolf

Each choice comprises an wonderful dialogue of what makes the e-book specific, from an adventurous writing kind to a different humorousness. The Majors additionally proportion insights concerning the authors and literary anecdotes, in addition to suggest different gemstones on an identical topic or by way of an identical author.

A literary spouse to take pleasure in and consult with many times, a hundred One-Night Reads is a masterpiece in its personal correct!

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Additional resources for 100 One-Night Reads: A Book Lover's Guide

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Tang, eighth century. Earthenware with sancai (three-color) glaze; h. 40 cm. © 1995 Nelson-Atkins Museum of Art, Kansas City, Missouri, 39–27. Xuan, age is defined by weight and hairstyle. The slenderness and the rounded pigtails of the figure with a duck on its shoulder illustrated in plate 5 tell us that it is a young girl. This girl is lively and playful; the richly embroidered fabric of her clothing is depicted in clay with relief flower patterns. As in painting, girl figures appear among tomb ceramics far less frequently than grown women.

Indeed, the primary role women played in art was that of actual or potential mother of imperial children. There were few images of learned, talented women in Tang art, and there were few children unattended by their mothers and/or nurses. A rigorous patriarchal structure of social obligations and filial duties created the essential form and subject matter of art. The emergence of images of women alone and of children separate from their mothers should probably be understood as a single development that reflects profound changes in Chinese society.

Since the man in the tomb is already an ancestor, he is beyond the stage of producing heirs and is better served by living sons. O◊cials, court musicians, grooms, and palace women are enough to attend one in the afterlife. There might even be the lingering traces of distant human sacrifice represented by the choice of tomb figures. Certainly no powerful figure would take live sons with him to the afterlife. They were needed on Earth to perform the ancestral sacrifices. There is one unusual tomb figurine that shows a palace woman holding a naked male infant upright by his feet (fig.

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