e-book Isaacs House: A Love Story of the Old South

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Sounds pretty nice. So why is she bored out of her gourd? But when she attends the weekly lunches at a local restaurant for fellow suburban freelancers, she becomes fixated on another member of the group. Pete Delaney is a package designer, a middle-aged husband and dad, reserved but pleasant. The first thing she notices is that he always chooses the same restaurant seat, one that gives him a clear view of his car, which he watches constantly.

For fans of Jorge Isaacs. - Hacienda El Paraiso

He takes a lot of ostensibly work-related trips, and he seems to always have a new phone. Isaacs, a Brooklyn native and Long Island resident, has written 12 previous bestsellers, three of which — Compromising Positions , Shining Through and After All These Years — have been made into movies. But she notices other details that seem off, and then she hears a story from another lunch pal who witnessed Pete in a bizarre fit of destructive rage.

Isaacs takes the basic thriller form and lathers it with lots of saucy humor.

Luna & Sam’s Love Story! ❤️ The Loud House - #KnowYourNick

You need a jolt to keep going. Most Jewish and Arab people in this region know fear. This fear has a long history, with many different long stories. The shrill or whispered echoes of these stories we would perhaps like to refute with a hug. This seems impossible to me. On the political level, the decisive dividing issue is the recognition of Israel as a state. Arab playbackers demand that their Israeli colleagues distance themselves from the policies of their state and condemn the injustice of Israeli politics. For good reasons — like the attention of secret services — people from Arab countries can fear that working with Israelis will be seen that way in their country.

Sometimes they have well-founded fears in the streets of Germany or any other country of coming out as Israelis abroad, e. For all Israelis this piece of earth is their home, where they were born and grew up. It may be the only country in which the Jews among them can feel really safe from antisemitism. In the heated debates in a war-torn region, calling for public criticism of government policy quickly becomes a fundamental issue.

Any positioning thus could be heard, unwittingly, as a declaration that the existence of their own homeland is unjustified. There will be no agreement on these political positions in the foreseeable future, I fear. So what, in this case, is conflict transformation and what role can Playback Theatre play in it? The issue is recognition, recognition of any kind of suffering — and thus recognition of every person as a human being. Of every human being.

Our stages invite you worldwide to tell your personal experiences and truths that come from the heart voicing. Recognizing these different truths respecting sounds much easier than it is. In playback theatre we can give a stage to all suffering, regardless of who experienced it where and how and who carries it inside. We can listen with all our pores, resonate, express with our art what we have recognized. We can include what we want to know and show about the person.

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And we can and should learn from the differences of living conditions that are significant in these very personal experiences personal history. We can show to the community which is present the values that make it possible for us to tell our story Here and Now. For example, depending on the culture, some stories of same-sex love can be shared honestly in only certain venues. We can use body, voice, words, music, boxes and scarves to make the voices that may have been hidden in the story heard.

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We can hint at the past and future history in these stories that belong to it, like the voices of conservative forces with great influence in a village or a city and the resulting suppression of same-sex love. The echoes of a lack of stability in times of flight and war, even when these have disappeared on the surface, cannot be ignored in stories about confusion and feelings of guilt and betrayal socio-political and historical context. And we can use the power of myths, fairy tales and archetypes. This is not about magic wands to relate unrealistic solutions, but about images that dare to show suffering clearly as a human experience and acknowledge it — avoidance is useless.

Thus, we saw on stage the tragic story of a Syrian, who had managed to settle in Lebanon, about the impossibility of participating in the funeral of his sister and the grief of his family beyond the border. In this story, a strangely archaic figure suddenly appeared: a wanderer who never gets tired of walking on with his heavy luggage, planting trees wherever he rests. Such stories, passed on from generation to generation over the centuries, convey an ancient knowledge of survival and confidence that is sometimes forgotten in the hustle and bustle of everyday life.

After all, it is about hope. Out beyond ideas of wrongdoing and rightdoing there is a field.

Takes One to Know One

When we meet in this space, we are positioned very differently. We need a lot of knowledge and sensibility about these differences. Those who are taller even physically — as a tall person, I know that myself and stronger, those who have more influence, who by chance have been born into more socially privileged lives, can have blind spots and may have good reasons from their point of view not to see these differences. That may not be intentional or even conscious at all, but it may protect against unpleasant challenges, against changes, perhaps also against feelings of guilt, which can block the acceptance of responsibilities.

A Love Story of the Old South

Can playback theatre broaden the view? Can it open eyes, pores and heads further for an equally empathetic, resonant gaze that knows about the political and historical contexts as well as about the ancient sources of human strength for a good life listening? That is my hope. She was like the others. Like his mother. His father who, though dead, spoke.

Like Jonathan. And Doc Malone. They had all said the same thing. Given the same advice. He rode hard to Pittsboro in the slopping mud and pouring rain. When he reached the edge of town, he slowed his horse to a trot to gather his wits. He had to think this through. He tied Glory to one of the hitching posts in front of the Courthouse and took the steps two at a time to reach the portico that surrounded the old building. I allow the Nigras took him in. The carpetbaggers are in the South to save us from ourselves.

They despise that we are not helpless, neither are we uneducated idiots. They never have. Never will. He near killed my girl and left her for dead in a ditch by the side of the road. He bound and gagged Winfield Cooper, who gave him the shirt off his back. And Winfield sits rotting in jail. He was tied up in his own stable for over two days when Jonathan found him. You know all of this. Now, leave it alone and get on with living. As a transplanted northern boy, I never understood the motives for such commitment to sacrifi ce from the men and women of the South.

I have now been granted a look into the depth of family, faith and community that drove this war for independence. It is a heartfelt love story within a love story of the Old South. Jane Bennett Gaddy is a true daughter of Mississippi, and she speaks from depths of devotion to her heritage with compassion in every line.

Susan Isaacs gives the thriller a witty twist

She conveys the youthful call to war and post-war burden of the warriors, as well as the emotions of those on the home front, and her readers will experience carpetbaggers, scalawags, copperheads, Radical Republicans and a nation even more divided after the war. She is retired and lives with her husband in Trinity, Florida.

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Formats Softcover. Other Book By Author. The Mississippi Boys. To Love Again. Inherited Courage.