Mindful, achievable and satisfying, this book gives readers a unique way to interact with the natural world around them, whether that's drawing cut flowers in a vase, or wild flowers in their front garden. Start at the beginning of the book and get a back-to-basics guide to line drawing, then move on to accessible step-by-step tutorials for stunning projects such as bouquets, patterns, wreaths and other floral motifs. Artist and educator Chloe Wilson breaks down each flower into easy repeatable elements, and gives plenty of tips on overcoming the fear of the blank page. She also provides plenty of tips on choosing the right materials, finding inspiration and developing your own style, along with ideas for using your drawings to create personalized stationery and artwork to go on your walls, so you can immediately enjoy the benefits of your new hobby in your home.
From award-winning Australian author Chloe Wilson comes Hold Your Fire, a debut short story collection that will haunt you long after you turn the page. A steely mother doubts her husband’s guts and her son's capability, until a playground incident dramatically escalates. A young couple move into a house in which there’s been a recent murder, and fall under the spell of their peculiar, commanding neighbours. Two sisters are determined to detoxify themselves into perfection. A diver pushes herself and those around her to dangerous heights. Interspersed with these stories are lightning strikes of flash fiction: we glimpse a leopard in the apartment next door; plants grown out of a strange and miraculous soil; the spirit of a girl who’s been thrown down a well. Needle-sharp, effortlessly surprising and beautifully controlled, Hold Your Fire is a debut collection that introduces a fierce new talent. At each turn, Chloe Wilson offers a unique insight, a tear in the veil of our moral certainties. Her stories strip away the varnish of our decency to reveal the raw, fascinating truth beneath.
Women knit at the foot of the guillotine. Hundreds of blackbirds tumble suddenly from the sky. Red Riding Hood's grandmother speaks from the belly of the wolf. Santa Lucia offers you her eyes on a platter. These poems present a panorama, by turns historical, mythical, and modern, of horrors and absurdities both familiar and obscure. 'Perhaps not fox nor axe, but something gives us chase' - and the only thing more difficult than bearing witness is turning away. 'Chloe Wilson is among the most promising of Australia's younger poets ...... Not Fox Nor Axeis a stunning mixture of myth, history and natural history, demonstrating both her ability to find new and intriguing angles on her subjects and her wit and dexterity with language.' Ron Pretty
From award-winning Australian author Chloe Wilson comes Hold Your Fire, a debut short story collection that will haunt you long after you turn the page. A steely mother doubts her husband’s guts and her son's capability, until a playground incident dramatically escalates. A young couple move into a house in which there’s been a recent murder, and fall under the spell of their peculiar, commanding neighbours. Two sisters are determined to detoxify themselves into perfection. A diver pushes herself and those around her to dangerous heights. Interspersed with these stories are lightning strikes of flash fiction: we glimpse a leopard in the apartment next door; plants grown out of a strange and miraculous soil; the spirit of a girl who’s been thrown down a well. Needle-sharp, effortlessly surprising and beautifully controlled, Hold Your Fire is a debut collection that introduces a fierce new talent. At each turn, Chloe Wilson offers a unique insight, a tear in the veil of our moral certainties. Her stories strip away the varnish of our decency to reveal the raw, fascinating truth beneath.
Dominateur, exigeant, arrogant… Impossible de dire non ! David Fulton est connu pour être un écrivain aussi froid et mystérieux que talentueux. Il ne demande pas, il exige, et il ne tolère que l’excellence. Louisa, stagiaire aux Éditions Laroque, ne s’attendait pas à devenir son assistante personnelle ! Éblouie par le charisme de l’auteur à succès, envoûtée par son sex-appeal et son assurance, elle découvre un homme aussi sensuel que dominateur, qui bouleverse ses certitudes. Mais David est-il sincère avec elle ? Ou n’est-elle qu’une proie de plus sur son tableau de chasse ? Ce roman a été édité précédemment sous le titre Ordonne-moi. Dominant Billionaire, de Chloe Wilkox, histoire intégrale.
Ils s’attirent autant qu’ils se détestent ! *** – On ne devrait pas, réponds-je. – Tu dis ça comme si c’était une mauvaise chose, remarque-t-il. La déraison. La perte de contrôle. – C’est une mauvaise chose. Regarde où ça t’a… Je m’interromps avant de dire quelque chose de blessant et rougis jusqu’aux oreilles. – … Où ça m’a mené ? complète-t-il en tenant mon visage entre ses mains. À trouver le courage d’embrasser une fille aux yeux saphir qui a un goût de cerise. Qui me prend pour un con, certes, mais qui me rend dingue. Il parle si près de mes lèvres que c’est comme s’il les caressait avec ses mots, avec sa voix feutrée, légèrement cassée par la fatigue, terriblement profonde et masculine. – J’ai menti, je ne te prends pas pour un con, lui avoué-je. Mais tu me fais peur. – Je ne te ferai pas de mal, tu le sais ? promet-il avec un regard intense et protecteur tout en laissant sa main descendre jusqu’à l’endroit le plus défendu et le plus avide de mon corps. J’exhale, ferme les yeux et me laisse faire. Ma tête bascule en arrière. Bon sang, c’est trop bon ! Je gémis et, instinctivement, pousse mon intimité contre sa paume. – Oui, tu le sais… Non, je ne le sais pas. Mais ça n’a plus aucune importance à présent. Je me fiche que Casey me blesse comme il a blessé Nicole et toutes celles qui se sont confiées à la presse. Je me fiche de souffrir. Ce que je veux, c’est vivre, enfin. *** Star d’Hollywood aux mille frasques, Casey Lewitt est envoyé contre son gré à Hawaï pour une mission humanitaire : pas d’alcool, pas de drogue et pas de fête. L’enfer ! Mais il reste la drague et les filles, qui succombent toutes à son corps de rêve et son sourire charmeur. Toutes, sauf Alana. Aussi fière que coincée, la jolie bénévole le déteste et refuse d’être une conquête de plus… malgré son attirance. Entre le bad boy qui refuse de se repentir et la fille aux mille secrets qui ne veut pas se dévoiler, les affrontements sont électriques ! *** Retrouvez dans cette saison 2 des héros aussi passionnés que blessés ! Ce roman est aussi publié dans sa version intégrale sous les titres Wild Love et Tombeur.
Abstract: Over the course of the twentieth century, breast cancer shifted from being a taboo subject to one openly discussed. Though historians have long recognized the importance of breast cancer as a lens through which to examine the intersection of gender, disease, and society, little attention has been paid to the activist movement that brought the disease into the spotlight of both culture and politics by the end of the century. From the inception of the American Society for the Control of Cancer (the predecessor to the American Cancer Society) in 1913 to the first Race for the Cure hosted by the Susan G. Komen Breast Cancer Foundation in 1983, women contributed their time and labor to overcoming the stigma surrounding the disease and worked to end its grip on women. In examining the long story of breast cancer activism, this thesis illuminates the changes and continuities in the movement. Using a combination of media sources and private correspondence, this work argues that women used breast cancer activism as an avenue through which to gain agency in a patriarchal medical world that typically denied them autonomy over their bodies and treatment. Finally, taking into account social status, privilege, and the context in which people lived, this thesis complicates the notion of linear progress in the work against the disease as conflict and power struggles came to the forefront of cancer discourse.
Ils s’attirent autant qu’ils se détestent ! *** – On ne devrait pas, réponds-je. – Tu dis ça comme si c’était une mauvaise chose, remarque-t-il. La déraison. La perte de contrôle. – C’est une mauvaise chose. Regarde où ça t’a… Je m’interromps avant de dire quelque chose de blessant et rougis jusqu’aux oreilles. – … Où ça m’a mené ? complète-t-il en tenant mon visage entre ses mains. À trouver le courage d’embrasser une fille aux yeux saphir qui a un goût de cerise. Qui me prend pour un con, certes, mais qui me rend dingue. Il parle si près de mes lèvres que c’est comme s’il les caressait avec ses mots, avec sa voix feutrée, légèrement cassée par la fatigue, terriblement profonde et masculine. – J’ai menti, je ne te prends pas pour un con, lui avoué-je. Mais tu me fais peur. – Je ne te ferai pas de mal, tu le sais ? promet-il avec un regard intense et protecteur tout en laissant sa main descendre jusqu’à l’endroit le plus défendu et le plus avide de mon corps. J’exhale, ferme les yeux et me laisse faire. Ma tête bascule en arrière. Bon sang, c’est trop bon ! Je gémis et, instinctivement, pousse mon intimité contre sa paume. – Oui, tu le sais… Non, je ne le sais pas. Mais ça n’a plus aucune importance à présent. Je me fiche que Casey me blesse comme il a blessé Nicole et toutes celles qui se sont confiées à la presse. Je me fiche de souffrir. Ce que je veux, c’est vivre, enfin. *** Star d’Hollywood aux mille frasques, Casey Lewitt est envoyé contre son gré à Hawaï pour une mission humanitaire : pas d’alcool, pas de drogue et pas de fête. L’enfer ! Mais il reste la drague et les filles, qui succombent toutes à son corps de rêve et son sourire charmeur. Toutes, sauf Alana. Aussi fière que coincée, la jolie bénévole le déteste et refuse d’être une conquête de plus… malgré son attirance. Entre le bad boy qui refuse de se repentir et la fille aux mille secrets qui ne veut pas se dévoiler, les affrontements sont électriques ! *** Retrouvez dans cette saison 1 des héros aussi passionnés que blessés ! Ce roman est aussi publié dans sa version intégrale sous les titres Wild Love et Tombeur.
My lifelong captivation with doves, emblems of peace and purity, inspires this tale. Like the sky, which can shift from serene to stormy without warning, we often overlook moments of tranquillity, failing to savour them. In the same way, a pristine white sheet is destined to be sullied, a dove’s life is finite, as is the peace it represents. In a world where time crumbles and facades are the norm, Joshua Jones is thrust into a web of deception that has been spun over generations. A legacy coursing through his veins propels him into an abyss of ignorance, compelling him to seek the truth. As Joshua grapples with the enigma before him, his faith in what he knows starts to fracture. Faced with a jigsaw of trust and betrayal, the question lingers: does he truly understand anything? Amidst this uncertainty, Melinoe emerges. Will she be his salvation from the chasms of the unknown, or will she be the one to tip him into the void?
During the early days of the professional English theatre, dramatists including Dekker, Greene, Heywood, Jonson, Marlowe, Middleton, and Shakespeare wrote for playhouses that, though enclosed by surrounding walls, remained open to the ambient air and the sky above. The drama written for performance at these open-air venues drew attention to and reflected on its own relationship to the space of the air. At a time when theories of the imagination emphasized dramatic performance's reliance upon and implication in the air from and through which its staged fictions were presented and received, plays written for performance at open-air venues frequently draw attention to the nature and significance of that elemental relationship. Aerial Environments on the Early Modern Stage considers the various ways in which the air is brought into presence within early modern drama, analyzing more than a hundred works that were performed at the London open-air playhouses between 1576 and 1609, with reference to theatrical atmospheres and aerial encounters. It explores how various theatrical effects and staging strategies foregrounded early modern drama's relationship to, and impact on, the actual playhouse air. In considering open-air drama's pervasive and ongoing attention to aerial imagery, actions, and representational strategies, the book suggest that playwrights and their companies developed a dramaturgical awareness that extended from the earth to encompass and make explicit the space of air.
This book shows how twenty-first-century writing about Northern England imagines alternative democratic futures for the region and the English nation, signalling the growing awareness of England as a distinct and variegated political formation. In 2016, the Brexit vote intensified ongoing constitutional tensions throughout the UK, which have been developing since the devolution of Scotland, Wales, and Northern Ireland in 1997. At the same time, British devolution developed a distinctively cultural registration as a surrogate for parliamentary representation and an attempt to disrupt the status of London as Britain’s cultural epicentre. Rewriting the North shifts this debate in a new direction, examining Northern literary preoccupation with devolution’s constitutional implications. Through close readings of six contemporary authors – Sunjeev Sahota, Sarah Hall, Anthony Cartwright, Adam Thorpe, Fiona Mozley, and Sarah Moss – this book argues that literary engagement with the North emphasises regional devolution's limited constitutional charge, calling instead for an urgent abandonment of the British centralised state form.
Winner of the Roma Gill Prize 2015, Marlowe's Literary Scepticism re-evaluates the representation of religion in Christopher Marlowe's plays and poems, demonstrating the extent to which his literary engagement with questions of belief was shaped by the virulent polemical debates that raged in post-Reformation Europe. Offering new readings of under-studied works such as the poetic translations and a fresh perspective on well-known plays such as Doctor Faustus, this book focuses on Marlowe's depiction of the religious frauds denounced by his contemporaries. It identifies Marlowe as one of the earliest writers to acknowledge the practical value of religious hypocrisy, and a pivotal figure in the history of scepticism.
what is fun for you? why do you laugh? how can you sing solo without feeling shy? I try to put lots of lords in one single page, which sets our poetry book apart, because wisdom is power, collection of wisdom is super power!
This groundbreaking study examines the vexed and unstable relations between the eighteenth-century novel and the material world. Rather than exploring dress's transformative potential, it charts the novel's vibrant engagement with ordinary clothes in its bid to establish new ways of articulating identity and market itself as a durable genre. In a world in which print culture and textile manufacturing traded technologies, and paper was made of rags, the novel, by contrast, resisted the rhetorical and aesthetic links between dress and expression, style and sentiment. Chloe Wigston Smith shows how fiction exploited women's work with clothing - through stealing, sex work, service, stitching, and the stage - in order to revise and reshape material culture within its pages. Her book explores a diverse group of authors, including Jane Barker, Jonathan Swift, Daniel Defoe, Eliza Haywood, Samuel Richardson, Henry Fielding, Charlotte Lennox, John Cleland, Frances Burney and Mary Robinson.
White women who inhabited the West Indies in the eighteenth century fascinated metropolitan observers. In popular prints, novels, and serial publications, these women appeared to stray from "proper" British societal norms. Although many women who lived in the Caribbean island of Jamaica might have fit the model, extant writings from Ann Brodbelt, Sarah Dwarris, Margaret and Mary Cowper, Lady Maria Nugent, and Ann Appleton Storrow show a longing to remain connected with metropolitan society and their loved ones separated by the Atlantic. Sensibility and awareness of metropolitan material culture masked a lack of empathy towards subordinates and opened the white women in these islands to censure. Novels and popular publications portrayed white women in the Caribbean as prone to overconsumption, but these women seem to prize items not for their inherent value. They treasured items most when they came from beloved connections. This colonial interchange forged and preserved bonds with loved ones and comforted the women in the West Indies during their residence in these sugar plantation islands. This book seeks to complicate the stereotype of insensibility and overconsumption that characterized the perception of white women who inhabited the British West Indies in the long eighteenth century. This book will appeal to students and researchers alike who are interested in the social and cultural history of British Jamacia and the British West Indies more generally.
Praise for In Peace and War "A comprehensive, balanced, and compelling history of a first-class educational institution, and of the complex history it services." --Sean T. Connaughton, Esq., Kings Point '83, Maritime Administrator "A great read . . . an accurate and absorbing depiction of an institution I was proud to lead for seven years. The authors truly grasped the unique character of the Academy." --Rear Admiral Thomas A. King, Kings Point '42, sixth Superintendent of Kings Point "Evokes memories of the earliest challenges in establishing a maritime institution where future success embodies the Academy's motto acta non verba." --Rear Admiral Lauren S. McCready, Kings Point Professor and Head of Engineering, 1942-1975 "Much more than an institutional history . . . a fascinating and informed portrait of the individuals and philosophies behind Kings Point." --Captain Warren G. Leback, Kings Point '44, past Maritime Administrator and industry leader "Well-written and meticulously researched . . . . A must-read for any maritime history buff." --Captain Arthur R. Moore, Kings Point '44, author of A Careless Word . . . A Needless Sinking "The best description of the merchant marine in the last seventy-five years, and the best account of why Kings Point became so important to our national security and economy." --George R. Searle, past president, American Merchant Marine Veterans of World War II
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. Why are early modern English dramatists preoccupied with unfinished processes of ‘making’ and ‘unmaking’? And what did the terms ‘finished’ or ‘incomplete’ mean for dramatists and their audiences in this period? Making and unmaking in early modern English drama is about the significance of visual things that are ‘under construction’ in works by playwrights including Shakespeare, Robert Greene and John Lyly. Illustrated with examples from across visual and material culture, it opens up new interpretations of the place of aesthetic form in the early modern imagination. Plays are explored as a part of a lively post-Reformation visual culture, alongside a diverse range of contexts and themes, including iconoclasm, painting, sculpture, clothing and jewellery, automata and invisibility. Asking what it meant for Shakespeare and his contemporaries to ‘begin’ or ‘end’ a literary or visual work, this book is essential reading for scholars and students of early modern English drama, literature, visual culture and history.
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