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G. Pascal Zachary is a foreign correspondent for The Wall Street Journal when he finds love in, of all places, the zoo in Accra, Ghana. That is where he meets Chizo Okon, the surrogate mother for an orphaned chimpanzee. In Married to Africa, Zachary tells their warm and humorous story, which is as much about the marriage of two cultures as it is about the marriage of two people. Chizo introduces Zachary to an Africa usually overlooked by visitors. He learns about the spiritual fervor of ordinary Africans, the mysterious power of juju and the rewards of eating bushmeat and other African dishes. He learns how to haggle effectively, pick a reliable taxi driver, live on "Africa time" and adapt to being a white minority in a black society. Chizo, meanwhile, deftly adapts to living with her obruni, the local nickname for a white person. As their romance deepens, the couple learns how differently things can appear to them. While Zachary indulges a passion for traditional African art, Chizo wo

The sexual revolution is justly celebrated for the freedoms it brought--birth control, the decriminalization of abortion, the liberalization of divorce, greater equality between the sexes, women's massive entry into the workforce, and more tolerance of homosexuality. But as Pascal Bruckner, one of France's leading writers, argues in this lively and provocative reflection on the contradictions of modern love, our new freedoms have also brought new burdens and rules--without, however, wiping out the old rules, emotions, desires, and arrangements: the couple, marriage, jealousy, the demand for fidelity, the war between constancy and inconstancy. It is no wonder that love, sex, and relationships today are so confusing, so difficult, and so paradoxical. Drawing on history, politics, psychology, literature, pop culture, and current events, this book--a best seller in France--exposes and dissects these paradoxes. With his customary brilliance and wit, Bruckner traces the roots of sexual liberation back to the Enlightenment in order to explain love's supreme paradox, epitomized by the 1960s oxymoron of "free love": the tension between freedom, which separates, and love, which attaches. Ashamed that our sex lives fail to live up to such liberated ideals, we have traded neuroses of repression for neuroses of inadequacy, and we overcompensate: "Our parents lied about their morality," Bruckner writes, but "we lie about our immorality.? Mixing irony and optimism, Bruckner argues that, when it comes to love, we should side neither with the revolutionaries nor the reactionaries. Rather, taking love and ourselves as we are, we should realize that love makes no progress and that its messiness, surprises, and paradoxes are not merely the sources of its pain--but also of its pleasure and glory.

The sexual revolution is justly celebrated for the freedoms it brought--birth control, the decriminalization of abortion, the liberalization of divorce, greater equality between the sexes, women's massive entry into the workforce, and more tolerance of homosexuality. But as Pascal Bruckner, one of France's leading writers, argues in this lively and provocative reflection on the contradictions of modern love, our new freedoms have also brought new burdens and rules--without, however, wiping out the old rules, emotions, desires, and arrangements: the couple, marriage, jealousy, the demand for fidelity, the war between constancy and inconstancy. It is no wonder that love, sex, and relationships today are so confusing, so difficult, and so paradoxical. Drawing on history, politics, psychology, literature, pop culture, and current events, this book--a best seller in France--exposes and dissects these paradoxes. With his customary brilliance and wit, Bruckner traces the roots of sexual liberation back to the Enlightenment in order to explain love's supreme paradox, epitomized by the 1960s oxymoron of "free love": the tension between freedom, which separates, and love, which attaches. Ashamed that our sex lives fail to live up to such liberated ideals, we have traded neuroses of repression for neuroses of inadequacy, and we overcompensate: "Our parents lied about their morality," Bruckner writes, but "we lie about our immorality.? Mixing irony and optimism, Bruckner argues that, when it comes to love, we should side neither with the revolutionaries nor the reactionaries. Rather, taking love and ourselves as we are, we should realize that love makes no progress and that its messiness, surprises, and paradoxes are not merely the sources of its pain--but also of its pleasure and glory.

Winner of the Best Director and four other French Cesar awards, Patrice Chereau's Those Who Love Me Can Take the Train is a beautiful and moving celebration of new life blossoming from tragic loss. With it's talented cast headed by Vincent Perez, Pascal Greggory and Valeria Bruni-Tedeschi, all among France's top young actors, brilliant cinemascope photography and a rich soundtrack featuring music by the Doors, Bjork and Portishead, Train has become a landmark of new French cinema. At the same ti

The Romans regarded her as fatale monstrum” a fatal omen. Pascal said the shape of her nose changed the history of the world. Shakespeare portrayed her as an icon of tragic love. But who was Cleopatra, really?Cleopatra was the last ruler of the Macedonian dynasty of Ptolemies. Highly intelligent, she spoke many languages and was rumored to be the only Ptolemy to read and speak Egyptian. Her famous liaisons with Julius Caesar and Mark Antony had as much to do with politics as the heart. Ruthless in dealing with her enemies, many within her own family, Cleopatra steered her kingdom through difficult times, and very nearly succeeded in creating an eastern empire to rival the growing might of Rome.Her story was well documented by her near contemporaries, and the tragic tale of contrasts and oppositions the seductive but failing power of ancient Egypt versus the virile strength of modern Rome is so familiar we almost feel that we know Cleopatra. But our picture is highly distorted. Cleopatra is often portrayed as a woman ruled by emotion rather than reason; a queen hurtling towards inevitable self-destruction. But these tales of seduction, intrigue, and suicide by asp have obfuscated Cleopatra's true political genius.Stripping away our preconceptions, many of them as old as Egypt's Roman conquerors, Egyptologist Joyce Tyldesley offers a magnificent biography of a most extraordinary queen.

The Romans regarded her as fatale monstrum” a fatal omen. Pascal said the shape of her nose changed the history of the world. Shakespeare portrayed her as an icon of tragic love. But who was Cleopatra, really?We almost feel that we know Cleopatra, but our distorted image of a self-destructive beauty does no justice to Cleopatra's true genius. In Cleopatra, Egyptologist Joyce Tyldesley offers an unexpectedly vivid portrait of a skillful Egyptian ruler. Stripping away our preconceptions, many of them as old as Egypt's Roman conquerors, Cleopatra is a magnificent biography of a most extraordinary queen.

Moll is a troubled woman, still living at home, stifled by the small island community around her. When she meets Pascal, a free- spirited stranger, a whole new world opens up to her and she begins to feel alive for the first time, falling madly in love. Finally breaking free from her family, Moll moves in with Pascal to start a new life. But when Pascal is arrested as the key suspect in a series of brutal murders, Moll is left isolated and afraid and finds herself forced to make choices that wil

Pascal Asselin is a founder member of French Canadian Dream Pop outfit Below the Sea and half of Anglo-Canadian duo Glider. Pascal began recording under the name Millimetrik in 2003, uniting his love of atmospheric ambient with Hip Hop rhythms and breaks. on Northwest Passage's New Era, Pascal has ventured even further down this path and the music has a sense of emerging from darkness into the light. The intricately programmed beats are still present, but the emphasis is firmly on melody and str