By Kristin McGuiness
Fifty one dates. 50 weeks. That used to be the social scan Kristen McGuiness—single, dwelling in los angeles, and getting into her thirties newly sober—embarked upon. McGuiness proposal dealing with her fight with alcoholism stands out as the toughest half, with love coming simply afterwards. It didn’t. Rethinking her earlier courting method, she embarks at the final social test: fifty one dates over the process 50 weeks, and an opportunity to say the lifestyles she idea used to be purported to be hers.
Dodging CHAs (Cheesy Hollywood Actors) and males with self-diagnosed RAD (Relationship nervousness Disorder), McGuiness is set to discover the "perfect guy" through being the "perfect girl." yet McGuiness, like every people, has her personal matters to deal with: a eager for the incorrect form of males, a penchant for swearing, and a tough dating together with her father in maximum-security legal. yet because the 12 months progresses, McGuiness starts to advance a brand new desire for her future—the dates rework into truth-seeking missions, and aspect her towards a lifestyles with enjoyable paintings, a supportive relations and, with the aid of a neighborhood shaman, a comforting spirituality. informed with wry humor, pathos, and a fascinating loss of self-pity, 51/50 is a relocating event.
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Extra resources for 51/50: The Magical Adventures of a Single Life
Major institutions—the Church, the Army, the Republic, the Schools, the Communist Party and the unions—are losing their symbolic aura . . because the French are [now] in general agreement concerning the public sphere. ” But a host of problems make it clear that it is a far more dangerous and unsettling world than that envisioned by the relatively optimistic Mendras even as recently as 1988. 66 Given this array of problems, it is perhaps not surprising that the word “fear” appears in the titles of at least two books about contemporary France: Alain Duhamel’s Les peurs franc¸aises (Paris: Flammarion, 1993) and Sonia Combe’s Archives interdites: Les peurs franc¸aises face a` l’histoire contemporaine (Paris: Albin Michel, 1994).
Punctuated by remembered scenes of the devastation and death endured by Napoleon’s conquering armies, Le colonel Chabert (Yves Angelo, 1994) suggests the dark underside of French grandeur and the terrible cost of imperial glory; focused on the court of le roi soleil, Ridicule (Patrice Leconte, 1996) does not depict the glories that deﬁned the reign of the Sun King but, rather, the highly reﬁned verbal viciousness, the meanness of spirit, that prevailed at court. Nor have the nation’s deep fault lines, the source of repression and strife throughout long centuries, been forgotten.
Such fears have given rise to a new incarnation of the xenophobic nationalism that asserted itself toward the end of the last century. Qualifying this xenophobic and fearful nationalism as “closed,” as opposed to the “open” nationalism of de Gaulle that proudly saw France take a leading role among the nations of the world, Michel Winock links it to a widespread sense of crisis and decline. ”69 As Winock suggests, debates about “Frenchness” and “national identity” may crystallize around immigrants, but they obviously reﬂect still other fears: in particular, that France is losing the important political, social, and cultural role it has long played in Europe and the world.