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The central concept of Heller's Catch-22 is the irony of the now-idiomatic "catch-22", and the narrative is structured around a long series of similar ironies. Thomas Pynchon's The Crying of Lot 49 in particular provides prime examples of playfulness, often including silly wordplay, within a serious context. For example, it contains characters ...
His magnum opus, however, is the book The Language of Post-Modern Architecture, first published in 1977, and since running to seven editions [80] (in which he famously wrote: "Modern architecture died in St. Louis, Missouri, on 15 July 1972 at 3:32 p.m. (or thereabouts) when the infamous Pruitt–Igoe scheme, or rather several of its slab ...
Upside-Down Magic is a Scholastic book series by Sarah Mlynowski, Lauren Myracle, and Emily Jenkins. [1] The series follows eight kids in a world with magical abilities: Elinor "Nory" Boxwood Horace, Elliott Cohen, Bax Kapoor, Andres Padillo, Pepper Phan, Marigold Ramos, Willa Ingeborg, and Sebastian Boondoggle.
Immediately following the success of the 2002 adaptation, a second series was released in 2003. It portrays the saga's last book To Let. Much of the cast resumed their roles, but most of the first generation of Forsytes had died in the previous series. The principal characters played by Damian Lewis, Gina McKee, Rupert Graves, and Amanda Root ...
Man, Play and Games (ISBN 0029052009) is the influential 1961 book by the French sociologist Roger Caillois (French: Les jeux et les hommes, 1958) on the sociology of play and games or, in Caillois' terms, sociology derived from play. Caillois interprets many social structures as elaborate forms of games and much behaviour as a form of play.
Summary [ edit ] Beginning with a Mercedes 600 plunging off the Glienicker Bridge between the former borders of East and West , The Book of Opposites is a tale of love, death, precognition , paradox , yoga and quantum mechanics .
Once you factor in how many books appear on the typical set of shelves—and the back-and-forth necessary to clear the rights, compounded by the tight turnarounds of TV shows—it becomes a whole ...
Publishers Weekly called it a "robust book" and wrote "this is a powerful collection that should enthrall readers of The Joy Luck Club and Tan's other novels." [1] Kirkus Reviews wrote "her prose is thoughtful, never maudlin or self-pitying. Tan writes as easily and unpretentiously about herself as about others."