The Story Without a Name
The title of this book is well chosen, for one could scarcely conceive of a name that could be appropriately applied to such a series of ghastly calamities, unless, perhaps, it might be called an epitome of all the horrors. In reading it one experiences a sensation as nameless as the story-a sensation in which are commingled the feelings of gloom, scorn, protest, shame, disgust, and compassion. After emerging from the nightmare in which it has entombed us, and the mind regains its normal tone, one naturally falls to wondering what could have been the frame of mind that conceived and the throes of soul that could give birth to such a morbid, dismal tale. Surely some raven must have perched above the chamber door, some agony must have entered into the life of the author, and made his hearthstone desolate; hence this tale, without a ray of sunshine, a glimmer of mirth, or a trace of humor; all shadow, sorrow, and sadness. From an artistic standpoint the book is faultless; its style is sui generis, but so absorbing, so intense, that the interest never flags. We read on to the end with ever increasing eagerness, though we shudder while we read, fascinated as a bird is by a serpent. The translator, in his introduction, quotes from a reviewer of d'Aurevilly's works the following words: "Never has language been raised to a prouder paroxysm. There is something in it that is brutal and exquisite, violent and delicate, bitter and refined. It is like the beverages that sorcerers made, in which were flowers and serpents, tiger's blood and honey." It is this unique style that Mr. Saltus has in no way weakened, but rather enhanced, in his translation, that makes this nameless story enchanting while it shocks. It was written ten years ago, and, Mr. Saltus tells, startled even Paris at the time of its publication. The scene of the narrative is in a sequestered French hamlet, situated at the base of a mountain so high that the perpendicular shadows envelope it like a pall, so that ofttimes at high noon not a glimpse of day penetrates the desolate place. A most fitting anchorage for so dreary a recital. "A place where Byron should have written his Darkness, where Rembrandt might have created that effect of his, the absence of light, or rather, it is there he would have found it." The characters are few, the pivotal ones being mother, daughter, and priest. The names of "hero" and "heroine" would have no meaning in this direful record of religious fanaticism, hypocrisy, cruelty, and crime. The mother, who, through her fealty to the memory of her dead husband, buries herself and her baby girl in this retreat, isolated from all social and wholesome influences and modes of life. In this atmosphere the daughter grows to womanhood, like a lily of the valley, with nil its purity and frailty. The mother transfers to the Church all the passionate ardor she had felt for her husband, counting a mother's love unhallowed as compared to the love of the holy ordinances. Her love for her child is manifested by directing her attention to the worship of God, but withholding from her that tenderness and sympathy which inspires confidence and secures safety to the child. Had her piety been less fervent and rigid, her devotions less frequent and severe, her mother heart would not have been smothered, in the incense of altars and the mock cry of creeds, while her daughter was starving for human sympathy and love. The dehumanizing effect of a sincere and abject faith in the crumbling creeds of Christendom is fearfully delineated in the picture of the mother standing over the bed of her daughter with a candle in one hand and a crucifix in the other, a device to awe the crushed and stricken child into a confession of a sin of which she was not guilty, and as a resource against the malediction she was seeking. It was this infatuation and fanaticism that widened the breach between mother and child.... -Belford's Magazine, Volume 6
The Story Without a Name
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Without a Name
and religious ideology. In "The Headmaster's Visit," we watch a headmaster
Shadow Without a Name
Three men, including a railway signalman, a World War I hero and Nazi general, and a master chess player, find key events in their lives intertwining as the events of the First and Second World Wars thrust them together at the center of a dangerous game. Reprint. 15,000 first printing.
A Tale Without a Name
An enchanting, powerful fable as timely today as a century ago, A Tale without a Name is the first-ever translation of this classic fairy tale for all ages, inspiring to children and adults alike, written by Penelope S. Delta, a Greek aristocrat straight out of a novel by E.M. Forster. This is a tale with no name, set in a Kingdom of no specific time or place. There, an old King and an ageing Queen cling to the ghost of a memory long lost. There are Princesses: two royally spoilt pernickety, capricious, empty-headed and imperiously stubborn - and a third - the youngest - sweet, regal and noble. And there a Prince - a proper Prince, brimming with the stuff great tales are made of - has to make a choice to perish or be reborn, to abandon his country and let it follow the path to perdition, or give it new life. His task is to learn a new way of life and, what is more, to learn how to teach it. To build again that which has been broken, to correct the failing and the wrong. With a little bit of help and words of wisdom along the way, the Prince will rebuild and inspire the subjects of his Kingdom. Penelope S. Delta's A Tale without a Name is translated from the Greek and charmingly illustrated with all-new black and white drawings throughout by Mika Provata-Carlone, and published by Pushkin Press. The Greek writer Penelope S. Delta was born in Alexandria, Egypt, in 1874. She wrote children's books, memoirs, historical studies, articles on children's education and welfare. She was a true philanthropist, a woman of remarkable spirit and intelligence. Her life was surrounded by political turmoil: her father, a cotton merchant who became the Mayor of Athens, was almost executed during the 1916 clashes between royalists and Venizelists; the diplomat and writer Ion Dragoumis, with whom Delta fell passionately in love, was assassinated. She ultimately took her own life in April 1941, on the day the Nazis entered Athens.
The Boy Without a Name
A boy seeks and eventually finds his own name - and also gives away an old dream he doesn't want - for a wonderful new dream. This is one of a series of illustrated books for children by Idries Shah, whose collections of narratives and Teaching-Stories have captivated the hearts and minds of people of all ages and from all walks of life.
A Girl Without a Name
Six-year-old Mark knows a truth about himself: that despite having a boy's body, deep inside he is in fact a girl. His sister gets it, but his parents don't understand and, with increasing violence, try to beat the devil out of him. As he grows older and his body begins to mature, can Mark endure in a world so hostile and hateful towards him? This is the story of a child's struggle with gender, faith, and forgiveness.
Without a Name and Under the Tongue
Chronicles the live of Zimbabwean women in two stories, the first a tale about a young woman fleeing the war to seek a new life in Harare, and the second about a mute teenager struggling to cope with the pain of incest.
The Story of a New Name
Book Two in Elena Ferrante's Neapolitan Quartet In 2012, Elena Ferrante's My Brilliant Friend introduced readers to the unforgettable Elena and Lila, whose lifelong friendship provides the backbone for the Neapolitan Novels. The Story of a New Name is the second book in this series. With these books, which the New Yorker's James Wood described as "large, captivating, amiably peopled...a beautiful and delicate tale of confluence and reversal," Ferrante proves herself to be one of Italy's most accomplished storytellers. She writes vividly about a specific neighborhood of Naples from the late-1950s through to the current day and about two remarkable young women who are very much the products of that place and time. Yet in doing so she has created a world in which readers will recognize themselves and has drawn a marvelously nuanced portrait of friendship. In The Story of a New Name, Lila has recently married and made her enterée into the family business; Elena, meanwhile, continues her studies and her exploration of the world beyond the neighborhood that she so often finds stifling. Love, jealousy, family, freedom, commitment, and above all friendship: these are signs under which both women live out this phase in their stories. Marriage appears to have imprisoned Lila, and the pressure to excel is at times too much for Elena. Yet the two young women share a complex and evolving bond that is central to their emotional lives and is a source of strength in the face of life's challenges. In these Neapolitan Novels, Elena Ferrante, the acclaimed author of The Days of Abandonment, gives readers a poignant and universal story about friendship and belonging.