Maudie S Promise
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Women and Evil
Author: Nel Noddings
language: en
Publisher: Univ of California Press
Release Date: 1991-05-08
Human beings love to fictionalize evil--to terrorize each other with stories of defilement, horror, excruciating pain, and divine retribution. Beneath the surface of bewitchment and half-sick amusement, however, lies the realization that evil is real and that people must find a way to face and overcome it. What we require, Carl Jung suggested, is a morality of evil--a carefully thought out plan by which to manage the evil in ourselves, in others, and in whatever deities we posit. This book is not written from a Jungian perspective, but it is nonetheless an attempt to describe a morality of evil. One suspects that descriptions of evil and the so-called problem of evil have been thoroughly suffused with male interests and conditioned by masculine experience. This result could hardly have been avoided in a sexist culture, and recognizing the truth of such a claim does not commit us to condemn every male philosopher and theologian who has written on the problem. It suggests, rather, that we may get a clearer view of evil if we take a different standpoint. The standpoint I take here will be that of women; that is, I will attempt to describe evil from the perspective of women's experience.
Maude Adams
Maude Adams (1872-1953) was a beloved and talented American Broadway actress who greatly influenced succeeding acting methods and production techniques. She first appeared on stage as an infant in her actress mother's arms, and then moved to a succession of children's parts. Her New York debut came in 1888, supported by E. H. Southern and then Charles Frohman, a demanding mentor. In 1905, she played her most famous role: the star of James M. Barrie's Peter Pan. Beautiful, kind, and very private, this early American actress is chronicled in a biography covering both her life experiences and innovations on the stage.
The Road to Timnath
When Audrie Matthews finally agrees to meet the adult son she left behind as an infant in Jamaica, she opens a Pandoras Box of trouble. She learns that her son, who is now a young Baptist minister, has left troubles of his own behind. She returns to Jamaica with him to shield him from the consequences of his actions and is taken back on a journey to the past that is as complex as it is revealing. In this novel, The Road to Timnath, which is told in the first and third person voice, Audrie Matthews meets her son, James John Whitehead, the third, and is forced to once again experience the horror of his fathers murder. This young man, who is known as Jimmy, looks and sounds so much like his dead father that at first Audrie struggles with sexual attraction to him. When he introduces his fiance to her and suggests that they get married in front of her, he is trying to make up for their years of separation. Audrie leaps at the opportunity, believing that her involvement in the wedding plans will wipe away her inappropriate responses to her son. She and her best friend Myrna pay for a small intimate ceremony and send the couple off for a week in the Bahamas. While they are gone, Audrie receives a call from Jimmys great Uncle. He reveals that Jimmys childhood best friend, who is the granddaughter of the familys housekeeper, has given birth to a baby girl and named Jimmy as the father. The journey home is a journey back to the turn of the twentieth century when the family patriarch, Rev. James John Whitehead, the first, was conceived as a result of the rape of a local teenager by the middle-aged Scottish pastor of the local Moravian church.