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Blake's Therapy is a whirlwind ride through the desires of one man to find something real in a virtual world. After suffering a mental breakdown, Graham Blake checks into the Corporate Life Therapy Institute, where the self-assured, silver-tongued Dr. Carl Tolgate has prepared a strange, shocking, and erotic treatment. Now Blake must find out, before it is too late, who is controlling his life, his company's future, and his own heart. A work of intense psychological intrigue, Blake's Therapy holds a magnifying glass to one man's life as it unravels in a world of economic turmoil and spiritual crisis.
It is the simmering summer of 2001 in New York City. Heller is the youngest employee of Soft Tidings, a messenger service whose motto is "news with a personal touch." At Soft Tidings, a message is not handed over but told to the recipient. And the messages, as a rule, are not especially good news. Heller prefers his bike to the mandatory Rollerblades, and he gets away with his maniacal bike riding because he is, hands down, the best deliverer of bad news. This summer will be memorable for Heller as he finds himself drawn into the lives of a wildly diverse cast of characters, accidentally falling in love, and relating to people in a whole new way.
The Norte Grande of Chile, the world's driest desert, had "engendered contemporary Chile, everything that was good about it, everything that was dreadful," writes Ariel Dorfman in his brilliant exploration of one of the least known and most exotic corners of the globe. For 10,000 years the desert had been mined for silver, iron, and copper, but it was the 19th-century discovery of nitrate that transformed the country into a modern state and forced the desert's colonization. The mines' riches generated mansions and oligarchs in Chile's more temperate region--and terrible inequalities throughout the country. The Norte Grande also gave birth to the first Chilean democratic and socialist movements, nurturing every major political figure of modern Chile from Salvador Allende to Augusto Pinochet. In this richly layered personal memoir, illustrated with the author's own photographs, Dorfman sets out to explore the origins of contemporary Chile--and, along the way, seek out his wife's European ancestors who came years ago to Chile as part of the nitrate rush. And, most poignantly, he looks for traces of his friend and fellow 1960s activist, Freddy Taberna, executed by a firing squad in a remote Pinochet death camp.
In this powerful cultural critique, Ariel Dorfman explores the political and social implications of the smiling faces that inhabit familiar books, comics, and magazines. He reveals the ideological messages conveyed in works of popular culture such as the Donald Duck comics, the Babar children's books, and Reader's Digest magazine. The Empire's Old Clothes was widely praised when it was first published in 1983. This edition, including a new preface by the author, makes a contemporary classic newly available.
Renowned author Ariel Dorfman, obsessed for twenty-five years with the malignant shadow General Pinochet cast upon Chile and the world, followed every twist and turn of the four year old trial in Great Britain, Spain and Chile as well as in the U.S., the country that had created Pinochet. Told as a suspense thriller, filled with court-room drama and sudden reversals of fortune, the book at the same time addresses some of today's most burning issues, made all the more urgent after the terrorist attacks of September 11th 2001. What are the limits of national sovereignty in a globalizing world? How does an ever more interconnected world judge crimes committed against humanity? What role do memory and pain and the rights of the survivors play in this struggle for a new system of justice? But above all, the author, by listening carefully to the voices of Pinochet's many victims, explores how can we purge ourselves of terror and fear once we have been traumatized, and asks if we can build peace and reconciliation without facing a turbulent and perverse past.
In September 1973, the military took power in Chile, and Ariel Dorfman, a young leftist allied with President Allende, was forced to flee for his life. In Feeding on Dreams, Dorfman portrays, through visceral scenes and powerful intellect, the personal and political maelstroms that have defined his life since the Pinochet coup. In Buenos Aires, he's on the run from death squads. Next, still holding out hope for Chile's return to democracy, he lives in ever-rotating safe houses in Paris and Amsterdam, where his loyalty to his political party and his wife's loyalty to him are dramatically tested. Finally he finds an uneasy refuge in America, his childhood home. And then, seventeen years after he was forced to leave Chile, Pinochet is out and Dorfman goes back to live there, setting in motion an unimaginable outcome. Dorfman's wry and masterfully told account provides a page-turning tour of the past several decades of North/South political history and of the complex consequences of revolution and tyranny. He has lived in the aftermath of revolution, and his perspective could not be more relevant today. Feeding on Dreams is a passionate reminder that "we are all exiles," that we are all "threatened with annihilation if we do not find and celebrate the refuge of common humanity," as Dorfman did during his "decades of loss and resurrection."
In the world of Chilean poet Ariel Dorfman, men and women can be forced to choose between leaving their country or dying for it. The living risk losing everything, but what they hold onto--love, faith, hope, truth--might change the world. It is this subversive possibility that speaks through these poems. A succession of voices--exiles, activists, separated lovers, the families of those victimized by political violence--gives an account of ruptured safety. They bear witness to the resilience of the human spirit in the face of personal and social damage in the aftermath of terror. The first bilingual edition of Dorfman's work, In Case of Fire in a Foreign Land includes ten new poems and a new preface, and brings back into print the classic poems of the celebrated Last Waltz in Santiago. Always an eloquent voice against the ravages of inhumanity, Dorfman's poems, like his acclaimed novels, continue to be a searing testimony of hope in the midst of despair.
This book relates the futuristic exploits of a politically asphyxiated dictatorship. By meshing disparate elements Dorfman has created a ponderous, provocative, if somewhat abstruse narrative, despite its finely wrought translation.
In this interlocking prose web of first-person testimony, novelist, poet, and playwright Ariel Dorfman relates the struggles of fifty human rights activists hailing from more than forty countries. Manifesto for Another World features the words and struggles of internationally celebrated activists including Vaclav Havel, Baltasar Garzón, Helen Prejean, and Marian Wright Edelman; and Nobel Prize Laureates the Dalai Lama, Desmond Tutu, Elie Wiesel, Oscar Arias Sánchez, Rigoberta Menchú Tum, José Ramos-Horta, and Bobby Muller. Equally moving are the stories of more than thirty others, unknown and (as yet) unsung beyond their national boundaries: Kailash Satyarthi, who has spent a lifetime working to free tens of thousands of victims of child labor in his native India, and Juliana Dogbadzi, who was sold into sexual slavery by her parents at age twelve, escaped after seventeen degrading years, and now is devoted to the liberation of African girls bound in the same terror. From their ranging voices Dorfman culls the message: freedom from persecution, and freedom of opportunity, for all. Manifesto for Another World is both a political testament and a work of art.
Mascara delves into the dark terrain of identity and disguise when the lives of three people collide. A nameless man with a face no one remembers has the devastating ability to see and capture on film the brutal truths lurking inside each person he encounters. Oriana, a beautiful woman with the memory of an innocent child, is relentlessly pursued by mysterious figures from her past. Doctor Mavirelli is a brilliant and power-hungry plastic surgeon who controls society's most prominent figures by shaping their faces. The twining of these three fates plays out in a climactic unmasking.
La muerte y la doncella, la obra latinoamericana mas representada en la historia del mundo, ha llegado a constituirse en un clasico sobre la justicia y el perdon, la memoria y el olvido. Dorfman se ha propuesto a explorar preguntas pocas veces hechas en voz alta: "¿Como pueden los represores y los oprimidos cohabitar una misma tierra, compartir una misma mesa?" preguntas que hoy dîa siguen tan vigentes como cuando Dorfman escribia esta obra.
Conceived the night of Che Guevara's burial in 1967, Gabriel McKenzie is inextricably bound up in the history and politics of his native Chile. Twenty-four years on, and still a virgin, Gabriel returns from Manhattan exile to confront his legacy: a Don Juan father and a country preparing for the five-hundredth anniversary of America's "discovery." Into Gabriel's quest for manhood and identity enter one iceberg, a faithful if eccentric nanny, and a whole host of fantastical characters.
"Let me tell you, America, of the hopes I had for you," Dorfman writes after the fall of the Twin Towers, remembering back to an earlier September 11 in 1973, when he was on the staff of Salvador Allende, then president of Chile, the day he was removed from office and murdered in a coup in which the U.S. government was complicit. "Beware the plague of victimhood, America ... Nothing is more dangerous than a giant who is afraid." Included in Other Septembers, Many Americas are major essays about the America south of the border, exploring the ambiguous relationship between power and literature and touching on topics as diverse as bilingualism, barbarians, and video games. In the essay "A Different Drum," Dorfman asks, "Isn't it time, as war approaches yet again, to tell each other stories of peace over and over again?" Over and over in these jewel-like essays, his best shorter work of the last quarter-century, Dorfman weaves together sentiment and politics with his sense of the larger historical questions, reminding Americans of our unique role in the world, so different from the one put forward by the current administration: the power to resist and to imagine.
"If the courts and lawyers of this country will not do their duty, we shall watch as the victims and survivors of this man pursue justice and vindication in their own dignified and painstaking way, and at their own expense, and we shall be put to shame."Forget Pinochet, Milosevic, Hussein, Kim Jong-il, or Gaddafi: America need look no further than its own lauded leaders for a war criminal whose offenses rival those of the most heinous dictators in recent history-Henry Kissinger.Employing evidence based on firsthand testimony, unpublished documents, and new information uncovered by the Freedom of Information Act, and using only what would hold up in international courts of law, THE TRIAL OF HENRY KISSINGER outlines atrocities authorized by the former secretary of state in Indochina, Bangladesh, Chile, Cyprus, East Timor, and in the plight of the Iraqi Kurds, "including conspiracy to commit murder, kidnap, and torture."With the precision and tenacity of a prosecutor, Hitchens offers an unrepentant portrait of a felonious diplomat who "maintained that laws were like cobwebs," and implores governments around the world, including our own, to bring him swiftly to justice.
Set in a Greek village in 1942, and purportedly written from his imagination by a Danish man before he was picked up by the Gestapo and not seen again, here is Ariel Dorfman's haunting and universal parable of individual courage in the face of political oppression. Widows forms a testament to the disappeared--those living under totalitarian regimes the world over, who are taken away for "questioning" and never return.One by one, the bodies of men wash up on the shore of the river, where they are claimed by the women of the local town as husbands and fathers, even though the faces of the dead men are unrecognizable. A tug-of-war ensues between the local police, who insist that the women couldn't possibly recognize their loved ones, and the women demanding the right to bury their beloveds. As it evolves, the stand-off reveals itself to be a power struggle between love, dignity and honor, and the lesser god of brute force. A lesson in how power really works, and how it can be made to work differently.
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