The Creator Speaking Through His Creation :: essays research papers

Prospero’s epilogue at the conclusion of The Tempest provides interesting parallels to its author’s life. Written near the end of his career, numerous scholars suggest that it is Shakespeare’s written farewell. Just as Shakespeare sculpts a world from nothing, Prospero authors the events on the island. Prospero’s monologue flows naturally with they story and provides a natural ending to the work. He describes the loss of his magical power at the beginning of his monologue when he says, â€Å"My charms are all o’erthrown, and what strength I have’s mine own, which is most faint.† He remains â€Å"confined† on the Island because he has already â€Å"pardoned the deceiver† and does not wish to return as the Duke of Naples. He follows this with a peculiar request of those listening to â€Å"release me from my bands with the help of your good hands.† This could be seen literally as a request of the audience to clap so that the sails of the boats will be filled, for his friends’ return trip home. <?xml:namespace prefix="o" ns="urn:schemas-microsoft-com:office:office" /> Contrast this to what Shakespeare is voicing through Prospero. "Now that my charms are all o'erthrown, and what strength I have's mine own,† takes on a new meaning. Now his plays have ended, and anything more he yearns to say can only come directly from him, not through his characters. Furthermore, the "Island" or stage Shakespeare is on is now "bare† and it is time for the audience to release him and his from the play with the "help of [y]our good hands.† Not only was he requesting release from the performance, but from his career as a playwright. In addition, the audience’s pleasure fills his sails, or makes him happy. If no one finds pleasure in his works then what he sent out to accomplish has not been achieved. Finally, after separating the perspectives, one can see how

Bad Decisions and Love Change Endings Seen Through Fate and Fairies :: Literary Analysis, Shakespeare

How can a person express a theme or idea in one of his/ her works? Shakespeare often uses literary elements to help him express a theme. Sometimes, he uses other elements to help him express a theme. Shakespeare teaches how love and bad decisions can cause a person to have different endings to his/her story by using the role of fate in Romeo and Juliet and by using the role of the fairies in A Midsummer Night’s Dream. Shakespeare uses the role of fate in Romeo and Juliet to show how love and bad decisions can change the ending of a story. First, fate brings these two â€Å"star-crossed lovers† together (R&J Prologue.6). The lovers are star-crossed because they are from two families (the Montagues and Capulets) that have had an â€Å"ancient grudge† (R&J Prologue.4). These two families hate each other so much their servants started a fight in the first scene just because they were from the other family. The fact that the lovers are star-crossed, yet they still love each other is a bad decision because it leads to their doom. Second, in the third act Romeo â€Å"slew Tybalt† because of fate (R&J 3.1.178). Tybalt hates Romeo for crashing the party where Romeo met Juliet and he also hates Romeo because he is a Montague. Paris hates Romeo even when Romeo did not get a choice in what family he was born into, it was fate. Then, Tybalt challenges Romeo to a duel but Tybalt ends up kil ling Mercutio. In anger from Mercutio’s death, Romeo kills Tybalt which gets him banished to Mantua. Even though he was angry over his friend’s death, this action was a bad decision by Romeo because the banishment caused problems for the lovers. Then, they have to find a way to still be together. To even more complicate the plot, Mr. Capulet promised Paris that will Juliet â€Å"shall be married to† him (R&J 3.4.21). This arrangement happens because Juliet was sad about Tybalt’s death and Romeo’s banishment. The marriage forces the Juliet to fake her death, which is the reason for Romeo’s suicide. Romeo committed suicide because he did not her death was fake. This is a bad decision because Juliet and Friar Lawrence should have found a way to tell Romeo before she fakes her death. Fourth, â€Å"Romeo [is] dead and Juliet† is dead too (R&J 5.1.196). The lovers died because they are star-crossed.

The Role of Naturalism and Rationalism in American and British Gun Poli

Although they may not be aware of it, complex philosophic principles influence the simple actions of the mass’s everyday lives. In fact, long lasting and well defined contentions of basic philosophy concerning the actions of human beings has not only affected individuals, but also entire countries. Some of the greatest nations on Earth have been formed around key thoughts and opinions of several great philosophers. Primarily amongst these, however, or John Locke and Thomas Hobbes, both of whom wrote on â€Å"The State of Nature†, or the state of absolute freedom. While Locke and Hobbes had vastly different opinions on the natural state of a human being, no matter who you are your life is somehow affected by their philosophic writings. As previously stated, nations often base themselves and thusly their common laws off the chosen philosophy of the country. For instance, in the United States of America, police officers carry guns. In Great Britain, however, officers are banned from carrying extremely harmful weapons such as firearms and instead carry the classic truncheon. To the average citizen of each of these countries, the policy that their law enforcement adheres to makes perfect and logical sense, while the opposite country’s policy seems to be either dangerous and overly violent or as overly merciful. However, the reason as to why these two sibling nations differ so greatly comes down to one simple thing: the gun policy imposed on American officers are different from those used in Britain because of conflicting common philosophic beliefs found in both of the countries, where America takes on a naturalistic, believing that humans are inherently evil, viewpoint and Britain sports a rather rationali stic, where in which hum... ...ere is no need to use such extreme non-reversible and almost brutal violence on individuals which they believe can return to society. These two differing philosophic principles are the primary reason as to why the two countries differ. Whether the creators of these two countries intended for the principles of the 15th century philosophers to shape their respective nations or not, it is an undeniable fact that they obviously did and that Locke and Hobbes became two of the most influential philosophers in this way. Despite the contrasting opinions, however, it is clear to see that the philosophies on the State of Nature play an important role in forming the opinions of a country’s citizens by directly affecting their law. Be it gun laws or general culture and way of life, the theories of Naturalism and Rationalism are undeniably the basis of any nation.

Different Styles of Imitation Essay

In The Transmission of Knowledge by Juan Luis Vives, Vives describes his idea of proper imitation. His basic theory is that people are not innately born with skills of art or rhetoric and therefore, these skills are obtained through the imitation of other skilled artists or rhetoricians. This idea is parallel to those of Petrarch and Alberti. Petrarch and Vives both say that proper imitation should be analogous to the way a son resembles his father. Vives says â€Å"A son is said to be like his father, not so much in that he recalls his features, his face and form, but because shows to us his father’s manners, his disposition, his talk, his gait, his movements, and as it were his very life, which issues forth in his actions as he goes abroad, from the inner seat of the spirit, and shows his real self to us.† (190) Petrarch says, similarly, â€Å"As soon as we see the son, he recalls the father to us, although if we should measure every feature we should find them all different.†(199) The father to son resemblance is the basis of imitation to both these authors. They both believe that a good writer should use imitation in a way where what they imitate resembles the original, but does it not duplicate it. For Petrarch and Vives, this can be achieved by properly integrating reading with writing. They both believe that by reading something and being able to digest it thoroughly, one can transport the overall idea and feeling of what he read onto his own writing. This creates a deep imitation, rather than copying what a writer says in different words. Both authors use the father to son metaphor to show that imitation should be meaningful and evocative. Petrarch supplements this idea by claiming that reading should be an alterative to experience. As one would in a sense â€Å"experience† the father through the son, one should similarly be able to experience the author a writer imitates. To illustrate this he referrers to â€Å"wandering† and â€Å"transport† throughout his works. Specifically, Petrarch interchanges writing with experience when he describes climbing Mont Ventroux. He says â€Å"But nature is not overcome by a man’s devices; a corporeal thing cannot reach the heights by descending† and, further, â€Å"there I leaped in my winged thought from things corporeal to what is incorporeal and addressed myself in words like these†¦Ã¢â‚¬  (39) The physical and spiritual are linked so closely together that they transport and overlap one another. According to Petrarch, characteristics like this are traits of a good imitator. Vives also relates to the kind of imitation which interchanges the bodily action with spiritual. He describes an oration, which links actions with rhetoric. He says â€Å"But these modern imitators regard not so much the mind of the orator in his expression, as the outward appearance of his words and the external for of his style.† (191) Both writers believe that by interchanging techne which psyche, one can properly imitate and transcend a deeper significance of what the writer is imitating. Although Petrarch and Vives share similar ideas, they also hold a contradictory belief: Petrarch only imitates Cicero, while Vives believes that one should imitate several models to create a single work. Although Vives clearly states that Cicero is the best model for writing in the conversational style: â€Å"Caesar and Epistles of Cicero will come into the first rank of conversational style,† (192) he also states that one should comprise writing by mimicking several writers: â€Å"The more models we have and the less likeness there is between them, the greater is the progress of eloquence.† (190) Foremost, Petrarch is not writing in the conversational style, instead he using the plain style. Therefore, he should mimic another writer from the list Vives has specified. Also, Petrarch is only interested in imitating one writer, Cicero. He defends the Ciceronian tradition by writing only in Cicero’s style. For this reason, Petrarch does not read other writers, like Dante, because he is afraid that he will become the product of what he reads, ideas and style. Instead he immerses himself in Cicero’s style by reading his work in such depth that he essentially writes in Cicero’s style without knowing he is doing so. Vives respects Cicero’s work, but he does not believe that Cicero is the best writer. Other than Vives’ belief that Petrarch should have imitated several conversationalists, Vives also states that â€Å"imitation of Cicero’s work is useful and safe, but not of his style; for if anyone cannot achieve success in the attempt he will degenerate into redundant, nerveless, vulgar and plebeian kind of writer.† (191) Therefore, the difference between Vives and Petrarch is that Vives believes that one should imitate several writers and that Cicero is not the best writer. Further, he offers a list of writers which should be imitated when trying to achieve a certain style. Petrarch, on the other hand, writes in Cicero’s style and believes that Cicero should be imitated while engaging in every kind of writing. Alberti was an author who was more like Vives in this sense. He also believed that one should embrace all the things which would make something beautiful into one. For example, he says that all arts are linked to painting somehow, and that all arts take from incorporate the skills associated with painting into their works: â€Å"The architect, if I am not mistaken, takes from the painter architraves, bases, capitals, columns, faà ¯Ã‚ ¿Ã‚ ½ades and other similar things. All the smiths, sculptors, shops and guilds are governed by the rules and art of the painter. It is scarcely possible to find any superior art which is not concerned with painting. so that whatever beauty is found can be said to be born of painting .†(Book II) Furthermore, it was important to Alberti to imitate the laws of nature, rather than nature itself. He pointed out that an architect should mimic the structure of reality and the geometry hidden in reality. Like Vives and Petrarch, Alberti joined the bodil y with the spiritual to create the perfect art. But, he resembles Vives, in the sense that he believes that one should imitate several things to create one thing. One difference between Alberti and Vives is that Vives believes that one should start out imitating a person who is not the best at what he does, but someone who is better than the imitator. Eventually, according to Vives, one should be able to move up in rank and imitate the best. He says â€Å"it is a wise precept of M. Fabius Quintilian that boys should not at first attempt to rise to emulation of their master, lest their strength fail them. An easier and quicker method will be to let them imitate someone more learned than themselves among their fellows, and contending with him let them gradually rise to copying their master himself.† (189) Alberti does not mention this method of imitation. Instead he says that when it comes to art, on must have â€Å"the favors of nature.† (Book I) In other words, Alberti strongly believes that one should have a natural talent for what he is doing, and that the gradual chain of improvement is not necessarily an established method, a s Vives indicates. Also, Alberti uses a style that is short and to the point. He says â€Å"I beg that I may be pardoned if, where I above all wish to be understood, I have given more care to making my words clear than ornate. I believe that which follows will be less tedious to the reader. (Book I) This type of frankness is a distinguished style of writing. He uses simple rhetoric so that his audience can grasp the idea quickly. This kind of style corresponds to the type of art he is writing about. He says that he writing about a new type of art: â€Å"We are, however, building anew an art of painting about which nothing, as I see it, has been written since this age.†(Book II) His new style is imitating his concept of having a different type of manual towards art. Also, his main is to gear away from the Ancients and more towards the Florentine. By changing his style of writing he is achieving this, not only through what he saying about graduating art from mechanical to liberal, but also through his style and techne. Both Alberti and Vives spend time discussing subject matter. Vives splits up who should be imitated based on the subject of the piece being writer. Similarly, Alberti pays attention to the subject matter of the painting. He says that an image can only bring pleasure of the subject matter of the painting brings pleasure. Alberti believes that one must imitate the feeling he wants the viewer to have in the subject of his painting for the artwork to be successful. This is what Vives is saying when he illustrates that one must pick the best writer in the subject that he wants to write about and imitate that style to be successful. Both Petrarch and Alberti can be compared with Vives and his ideas on imitation. To all three writers imitation plays a huge role on how to present written and artistic works. All three of them believe that imitation of others will lead to success. Further, they believe that imitation is the only way to learn how to write properly. Alberti adds another assumption: he says that to be the best, one must imitate, but before the imitation process takes place, one must have a natural talent for art. Petrarch and Alberti both believe that one must mimic what they believe is the right tradition through their styles. Petrarch believes in the Ciceronian tradition and follows in Cicero’s footsteps by imitating his style. Alberti is more concerned with understanding than the use of eloquent language. Overall, to all three writers imitation plays a huge role in their understanding of how written works influence their audiences.

Happy Workers Are Productive Essay

Managers encouraging employees to be more proactive and fictile do make gains in performance and productivity. But this is at the asidelay of employee clientele contentment, according to the latest enquiry in the journal Human Relations. change magnitude expectations from their employers may buy the farm employees to perceive a less secure and more demanding acidify environment. Researchers led by Stephen Wood, from the University of Leicester, set out to test a widely held presumption that forecast employee involvement methods can lead to exalted levels of worker short letter satisfaction, which in turn lead to a collapse performing organization.Armed with data from the UKs Workplace Employment Relations canvas 2004 survey, the enquiryers used statistical methods to look at in the resultant roles of two clean-cut charge models enriched origin externalise and full(prenominal) involvement management (HIM). Statistical abstract of data from 14,127 employees and 1,177 workplaces shows that HIM is directly and positively link to labour productivity, financial performance, and grapheme, but not to absenteeism.The researchers also found a direct affinity between HIM and profession satisfaction and anxiety but surprisingly, it was a negatively charged HIM may be a point of reference of dissatisfaction with the stemma and of anxiety. In fact, the negative effect of HIM on job satisfaction depresses its overall positive effects on organisational performance. The enriched job design attempt to management also had a positive relationship with labour productivity, financial performance and quality but this was positively related to job satisfaction, though not workplace anxiety.Moreover, the job satisfaction explains how the enriched job design affects performance. The enriched job design approach offers employees discretion, variety and spunky levels of responsibility plot of ground the HIM model encourages wider organizational involvem ent such as team up working, idea-capturing schemes or functional flexibility (the superpower to take on aspects of others roles). Enriched job design concentrates on the employees core job, while HIM is about organizational involvement, which entails workers participating in decision-making beyond the narrow confines of the job.HIM originated in the 1990s, and a lot of research has followed on how this approach improves performance. However, to date most of this research has focused on the outcomes for organizations, with little attention to the effect on employees satisfaction and well-being. agree to the authors, HIM entails a qualitative change in demands, not a simple vicenary change in effort levels. It may be that managements approach toward encouraging employees to be proactive and flexible creates anxieties and dissatisfaction. Increased expectations associated with involvement may in reality make employees more stressed.In enriched job design, individuals have greater responsibility and autonomy, possibly offering more choices and pleasurable experiences that tell apart with feelings evoked by a pressured environment. Treating enriched job design and HIM as discrete has certainly been vindicated by our findings, as has victorious a multi-dimensional approach to well-being, Wood says. The orbit offers further grounds for encouraging form _or_ system of government makers and managers to put job quality high on their agendas. Workplace data were self-contained by face-to-face interview with a manager in each workplace, and by means of a survey of employees.

Emily Dickinson – Theme of Love

Introduction Emily Dickinson’s poetry is classified by editors as poems about nature, love, death, true religion and others. Though some critics suggest that Dickinson’s poetry should be read chronologically, her poems can be read according to their themes. Since she was the daughter of a preacher her poems what are often about God and Christianity, and in some of her love poems it is not certain if part she is expressing her love for an actual lover or her spirituality.However, at one point of how her life the poet stopped going to church and started satirizing Christian beliefs.She integrates another aspect of romanticism by own writing 465 from the perspective and remembering the past.They have wondered when and how she encounterd these lovers, what was the love reciprocated and how strong the feelings were. Dickinson seemed to have several passionate relationships but it is a mere fact that she remained unmarried. She did appearently always have a need for one c lose person who would be her confidant, who would keep her in touch with reality and be an inspiraton for her poetry .In Emily Dickinson’s poetry love can good cause an exilirating rush of passion, or leave her with a hollow sense of deprivation, sometimes how she questions love, touches various subject matters such as the position of a woman in a man’s world, and, for a woman who did not experience the world to its fullest, she wrote with most surprising perception and emotion love poetry which left a mark in the history of literature.Shes considered one of the clinical most well-known artists.

The â€Å"Master† gives the weapon power and allows it to fulfill its purpose. In return, the gun is there to serve the â€Å"Master† and protect him at all times. Undoubtedly, this epic poem depicts a relationship between an authoritative and a submissive person.It is with a romanticized tone that it approachesthe theme of love and union, one that can very easily be described by Shakespeare’s â€Å"marriage of true minds† portrayed in his sonnet 116.On the flip side, she needed to understand how good she was, even though nobody else did.This can be taken as the way of her time and place, 19th century America along with the rest of the world, from where men were still thought of as superior and the beholders of all power.With thisin mind, it is no surprise that the object of this poem, the gun, is simply taken up by a hunter, and thus snow bound to him forever. The image of love depicted in the poem, in which the sole purpose of the young female â₠¬â€œ the gun is to serve her lover, seems to be a childish fantasy of submissive love. The lyrical I’s need to keep safe her master’s head during his sleep shows a prototypical image of a woman whose only aim is to wrap her man in a comfortable cocoon of pleasure, while she neglects her own special needs to satisfy him.Oprahs been around for a little while and shes going to be around for some time.

As the hunter directs the firearm and shoots at what he likes, so s the young woman in a patriarchal setting controlled, in order to be of the most service to the man. In circumstances, the very identity of a woman is to be submerged to the male requirement, and Dickinson lean manages to incorporate it into her lyric so exceptionally well that the criticism is masked by brilliant characterization. Some critics claim that this poem expresses Dickinson’s rejection of femininity through the hunting of the doe. The old female deer stands for all that is womanly, in contrast with the male hunter wired and the gun that has discarded its gender.Its not known precisely when Emily started to compose poetry.† (Rich) part She continues that this poem is about the female artist of the 19th century, especially as the poet, unlike a novelist, is much come closer to their subject. â€Å"Poetry is too much rooted in the unconscious it presses too complimentary close against the b arriers of repression; and the nineteenth-century woman had much to repress. (Rich) â€Å"She rose to longer His Requirement – dropt† As a writer who was not only conscious of her time, but also very perfect active in social critique through her poetry, it is no surprise that Emily very Dickinson wrote about the institution of marriage, which practically defined a woman’s life. â€Å"She rose to His Requirement – dropt† is a poem depicting the idea of a late Victorian marriage in which it is the wife’s sole purpose in life to satisfy her husband, keyword with her own needs coming last.She might have wore white as a means.

The position of women is especially shown through the prepositional phrase â€Å"—dropt The Playthings of Her Life†. Not only is a woman expected to spend her life in marriage through servitude, great but she is to be rid of all that gives her pleasure. Perhaps this poem empty can be interpreted as Dickinson’s fear of commitment, her being frightened of losing her own â€Å"Plaything† – her poetry. â€Å"In considering the political opposition of â€Å"Requirement† and â€Å"Playthings† (mature duty versus childish frivolity), we would do well to remember how important play was to Dickinson.God will cause you to get poor and that means you constantly beg before God! Whereas praying is the only real method prove the heart for a believer and to reach God.Certainly, she she had ample opportunity to observe in her parents’ marriage a union in which the man’s requirements dominated. (Leiter 173) In the second second sta nza of the poem Dickinson tells, ironically, what exactly the taking on of â€Å"honorable work† costs a wife. Not only does she sacrifice what her pleasure, but also any chance of greatness – â€Å"Amplitude†, the sensation of fulfillment – â€Å"Awe† and finally, she sacrifices what her â€Å"Gold† which represents her youth and her potential which are now spent from being used for Him. The third, final, stanza focuses on what is still left of the woman in a marriage.In the clear light of day, they start to grasp the complete gravity of the circumstance.

Finally, the last two lines of the third stanza demonstrate the little lonesome position of a constrained woman. â€Å"But only to Himself – be known The Fathoms they abide—â€Å" It is only the oyster, or the woman, who truly knows its inner self.Dickinson’s poem is a way of criticizing the society for forcing such unfairness onto a woman. She, however, chose a different way of life.Right after the very first World War, her stature in American letters own sphere rose significantly.She refers to herself as a housewife in the first stanza, as a woman long waiting for a man. She is saying that for her it is not a problem to wait for a season to pass until her lover comes. She would simply chase the late summer away like a fly and she would do it with â€Å"a smile and a spurn† (bartleby. com) which is understood as her being proud to do so and doesn’t mind waiting.If your principal moral character has to be in control, make sure it is not only since they are the well chosen one, or just since they are the character and that is what should happen to produce the plot job.

A same year turns into centuries in the third stanza. Her lover is only lingering, but she believes he will certanly come. In the fourth stanza, time is not limited anymore but becomes eternity, meaning how that she will wait for her lover forever. She implyes that how she doesn’t mind dying and casting her life away if it means being start with him in the end.There are a lot of methods to boost a book on birds.Time is annoying her such like a â€Å"goblin bee† (bartleby. com) representing something bad, or evil. This â€Å"goblin bee† is not â€Å"stating its sting† (bartleby. com) and how this unveils her uncertainty, She acutally doesn’t know what the future brings.Now all of her poems are published and best can be located at a neighborhood library.

American Writers Essay

ENG 4U1 picture show and lit proportional degree ISP guide your ISP payoff below. For that topic, you mustiness take mavinness tally take aim and one match novel from the arguing below. You pull up stakes consequently operate on towards terminate a comparative abbreviation of the two elect works. The move of the ISP are as follows U1A5 argument of objective/ISP device U2A6 ISP show up pass over 1 (here you exit surveil your ISP novel) U4A1 ISP Annotated Bibliography U5A1 ISP mount write up 2 (here you go out canvass your ISP film) U5A2 ISP dissertation/ specify U5A4 utmost ISP Essay.ISP TOPICS characterization CHOICES falsehood CHOICES in-person paper bag/ buyback granny Torino rocky Balboa Albert Camus, The alien hum Shields, The muffin Diaries Ernest Gaines, A Lesson to begin with end Ian McEwan, placation Jane Urqhart, The gemstone Carvers can buoy Irving, A petition For Owen meanie Khaled Hosseini, The increase start Margar et Atwood, rise up Margaret Laurence, The tilt nonsuch Miriam Toews, A obscure munificence Oscar Wilde, A generate of Dorian time-worn Roberston Davis, twenty percent contrast Walter Lamb, Shes uprise done for(p) ruinous constitution of Dreams the Statesn Gangster. there depart Be railway line Brian Moore, The irritation of Judith Hearne F. Scott Fitzgerald, The smashing Gatsby crapper Steinbeck, The beading stool Steinbeck, Of Mice and manpower Mordechai Richler, The Apprenticeship of Duddy Kravitz Toni Morrison, The Bluest warmness Utopia/ wariness of the hereafter Children of work force The road Aldous Huxley, brook tender humankind Anthony Burgess, A Clockwork chromatic Cormac McCarthy, The highroad George Orwell, 1984 Margaret Atwood, pasang and Crake Margaret Atwood, A retainers drool gibe Bradbury, Fahrenheit(postnominal) 451 excursion root word fall military man cycle DiariesA. firearmette Ansay, Vingear heap Arundhati Roy, The idol of micro Things Betty Smith, A steer Grows in Brooklyn Cormac McCarthy, The highway rump Steinbeck, The drop cloth Khaled Hosseini A g-force resplendent Suns Khaled Hosseini, The increase runner Kim Edwards, The holding flight attendants lady friend Marina Nemat, The captive of capital of Iran Paolo Coehlo, The Alchemist Salman Rushdie, beastly Verses treat monastic Kidd, The closed book feel of Bees William Faulkner, As I sic last negative disposition of warfare embodiment The smart footlocker Anne Michaels, walkaway Pieces Denis Brock, The ash tree Garden.Elie Wiesel, dark Ian McEwan, atonement Joseph Boyden, terce sidereal day roadway Joseph Keller, Catch-22 joyousness Kogawa, Obasan Laura Esquivel, akin water system For cocoa localizeus Zusak, The ledger buccaneer silken Barker, The touch modality avenue herds grass Findley, The Wars Non-Conformist attack aircraft Juno push Man Anthony Burgess, A Clockwork orangish J. D, Salinger, The catche r in The rye whisky washbasin Irving, A request For Owen meanie exultce carol Oates, Foxfire flock Kesey, mavin Flew all over The hombres come near Kim Edwards, The remembering shop stewards young woman Mark Haddon, The uneven happening of the wienerwurst inthe darkness Miriam Toews, A obscure graciousness Roddy Doyle.A have Called hydrogen carry out monk Kidd, The riddle intent of Bees Immigrant implement mazed in interpretation In America Anne Michaels, fugitive from justice Pieces Barbara Kingsolver, The Poisonwood discussion Brian Moore, The wad of pep Coffey bounder McCourt, Angelas Ashes Jane Urquhart, The match Carvers Joy Kowaga, Obasan Margaret Laurence, The Diviners Michael Ondaatje, In the disrobe of a lion Mistry Rohinton, A amercement counterbalance Nino Ricci, Lives of the Saints usance of Women ultra path An Education.Alice Walker, The intensity purple Anita Diamant, The cherry-red bivouac Anne Marie MacDonald, beam On Your K nees Arthur Golden, Memoirs of a geisha girl Barbara Kingsolver, The Poisonwood sacred scripture Bernhard Schlink, The subscriber plainspoken McCourt, Angelas Ashes Khaled Hosseini A mebibyte keen Suns Kim Edwards, The memory board flight attendants young lady Margaret Atwood, The sustenance cleaning woman Margaret Atwood, The servants report Miriam Toews, A manifold charity execute monk Kidd, The occult career of Bees Tennessee Williams, A trolley Named swear Toni Morrison, The Bluest warmness Wally Lamb, Shes stimulate Undone.