Victoria Shaw To the jaded eyes of adventurer Jed Kincaid, Victoria seemed nothing more than a pampered English rose. But in the heat of the desert sun, she was beginning to blossom into a vibrant woman with an untutored passion for life. Jed Kincaid Rogue. Maverick. Loner. Jed Kincaid was certainly no gentleman. Yet the daring American had rescued Victoria from the slave pens of Kartoum, only to capture her heart. A heart she'd long since promised to another man….
A Rebel Heart Held Her Fast… and young noblewoman Alyssa Howett knew she had no choice but to release Devlin Fitzhugh, the wild Irish hero who had freed her woman's soul. A Warrior Walked Alone His fealty was only to his sworn chieftain—or so Devlin Fitzhugh had always believed. Then fate brought him a daughter he'd never known and a passion he'd never dared dream with a sun-bright English rose who would test his loyalty…and prove his love!
A Rebel Heart Held Her Fast… and young noblewoman Alyssa Howett knew she had no choice but to release Devlin Fitzhugh, the wild Irish hero who had freed her woman's soul. A Warrior Walked Alone His fealty was only to his sworn chieftain—or so Devlin Fitzhugh had always believed. Then fate brought him a daughter he'd never known and a passion he'd never dared dream with a sun-bright English rose who would test his loyalty…and prove his love!
Victoria Shaw To the jaded eyes of adventurer Jed Kincaid, Victoria seemed nothing more than a pampered English rose. But in the heat of the desert sun, she was beginning to blossom into a vibrant woman with an untutored passion for life. Jed Kincaid Rogue. Maverick. Loner. Jed Kincaid was certainly no gentleman. Yet the daring American had rescued Victoria from the slave pens of Kartoum, only to capture her heart. A heart she'd long since promised to another man….
Suburgatory lampoons the absurdities and contradictions that Linda Keenan has witnessed since leaving New York City, where she was a thoroughly urban CNN news producer for seven years, and settling down as a hapless stay-at-home suburban mother. The original proposal for this book was picked up by Warner Brothers, and you can see their imagining of Suburgatory on the ABC show of the same title. Keenan was forced by the man in her life to leave her beloved New York City for a supposed suburban utopia. Instead she found herself trapped in a place where conformity is king, and where she often felt like she had been taken hostage by an adult Girl Scout troop. So Keenan decided to train her twisted reporter's eye on the strange inhabitants of this new foreign land. Thought of as a local town newspaper or website, Suburgatory excoriates—through satirical local “news stories”—the mostly upper middle class American pieties and parenting obsessions, targeting the all-around bad behavior raging underneath the surface of those obsessively tended suburban lawns and bikini lines.
By accessing penal history through the mediator of individual memory authors can be seen to depict the cumulative dialogue between the English common law and its cultural representations across historical time. Offering legal readings of works by authors including Thomas Hardy, Charles Brockden Brown, Charles Dickens, Samuel Richardson, George MacDonald, Charles Kingsley, Alfred Tennyson, Charlotte Bronte, Robert Browning, Henry Fielding and Sir Walter Scott; this book explores this literary phenomenon and its legal significance during the eighteenth and nineteenth centuries. In doing so it argues that the importance of precedent in Anglo-American common law creates a unique discourse of historical legitimacy that shapes both the cultural and official conceptions of criminality itself during this period. Within a Foucauldian framework, the book illustrates how the cultural memory of crime and punishment contribute to the development of formal and informal penal institutions. Key Features:*Generates a new framework for analysing the relationship between individual and cultural narratives, literary texts, and the cumulative "e;truth"e; created by the common law*Provides three case studies of adultery, child criminality, and rape testimony that demonstrate the impact of cultural narrative on legal development in the eighteenth and nineteenth centuries.*Legal readings of works by authors including Thomas Hardy, Charles Brockden Brown, Charles Dickens, Samuel Richardson, George MacDonald, Charles Kingsley, Alfred Tennyson, Charlotte Bront Robert Browning, Henry Fielding, Sir Walter Scott *Transformative readings of widely read works including Charles Brockden Brown's Wieland and Ormond, Thomas Hardy's Tess of the d'Urbervilles, Charles Kingsley's The Water-Babies, Alfred Tennyson's Idylls of the King, Charlotte Bronts Jayne Eyre, Henry Fielding's The Modern Husband and Sir Walter Scott 's Heart of Midlothian
A pair of star-crossed lovers offer each other a second chance at life and love. But will they have the courage to take it? An emotive and uplifting tale, guaranteed to pull at the heart strings. Perfect for fans of Jo Jo Moyes and Hilary Boyd’s Thursdays In The Park.
The dead of Paris, before the French Revolution, were most often consigned to mass graveyards that contemporaries described as terrible and terrifying, emitting "putrid miasmas" that were a threat to both health and dignity. In a book that is at once wonderfully macabre and exceptionally informative, Erin-Marie Legacey explores how a new burial culture emerged in Paris as a result of both revolutionary fervor and public health concerns, resulting in the construction of park-like cemeteries on the outskirts of the city and a vast underground ossuary. Making Space for the Dead describes how revolutionaries placed the dead at the center of their republican project of radical reinvention of French society and envisioned a future where graveyards would do more than safely contain human remains; they would serve to educate and inspire the living. Legacey unearths the unexpectedly lively process by which burial sites were reimagined, built, and used, focusing on three of the most important of these new spaces: the Paris Catacombs, Père Lachaise cemetery, and the short-lived Museum of French Monuments. By situating discussions of death and memory in the nation's broader cultural and political context, as well as highlighting how ordinary Parisians understood and experienced these sites, she shows how the treatment of the dead became central to the reconstruction of Parisian society after the Revolution.
Who has the right to decide how nature is used, and in what ways? Recovering an overlooked thread of seventeenth- and eighteenth-century environmental thought, Erin Drew shows that English writers of the period commonly believed that human beings had only the "usufruct" of the earth—the "right of temporary possession, use, or enjoyment of the advantages of property belonging to another, so far as may be had without causing damage or prejudice." The belief that human beings had only temporary and accountable possession of the world, which Drew labels the "usufructuary ethos," had profound ethical implications for the ways in which the English conceived of the ethics of power and use. Drew’s book traces the usufructuary ethos from the religious and legal writings of the seventeenth century through mid-eighteenth-century poems of colonial commerce, attending to the particular political, economic, and environmental pressures that shaped, transformed, and ultimately sidelined it. Although a study of past ideas, The Usufructuary Ethos resonates with contemporary debates about our human responsibilities to the natural world in the face of climate change and mass extinction.
Is there a reason some girls grew up worshipping The Cure while others were hot for Mötley Crüe? Could your love of the Beastie Boys have anything to do with your current beau's commitment issues? Have you ever wished for the kind of timeless romantic wisdom that can only come from years spent listening to David Bowie in your bedroom? Wonder no more! EVERY ROSE HAS ITS THORN: A ROCK N ROLL FIELD GUIDE TO GUYS is here to help (and/or moderately entertain) you. Packed with quizzes, true life tales, lots of words, and illustrations in glorious black and white, this book will help you better identify and understand the rockstars and wanna- be's you'll meet on romance's bumpy tour. What kind of guy . . .Owns a gorilla suit, but not an interview suit? Uses a broomstick as a curtain rod and a T-shirt as a pillowcase yet spends entire paychecks optimizing the gaming capabilities of his computer? Wants sex but not as much as he wants to watch Adult Swim? See Chapter 4. What kind of guy . . .Considers a car, a job, and a place to live "nice to have" but mostly optional? Has a life story that reads like a reverse Horatio Alger novel? Is self-proclaimed "lazy" about: brushing his teeth, returning monies borrowed, dressing open wounds? See Chapter 1. What kind of guy . . .Can school you on complicated investment strategies but keeps sending you viruses on Facebook? Arrives at your 40's Party in period clothes with a martini shaker, instead of in an Adidas sweatsuit with a case of malt liquor? Has lots of baggage but really nice luggage? See Chapter 9.
Familial Forms is the first full-length study to examine how literary writers engaged the politics of genealogy that helped define the “century of revolution.” By demonstrating how conflicts over the family-state analogy intersected with the period’s battles over succession, including: the ascent of James I, the execution of Charles I, disputes over the terms of the Interregnum government, the Restoration of Charles II, the Exclusion Crisis, the deposition of James II, the ascent of William and Mary, and Anne’s failure to produce a surviving heir, this study provides a new map of the seventeenth-century politics of family in England. Beginning with a reconsideration of Jacobean patriarchalism, Familial Forms focuses on the work of John Milton, Lucy Hutchinson, John Dryden, and Mary Astell. From their contrasting political and gendered positions, these authors contemplated and contested the relevance of marriage and kinship to government. Their writing illuminates two crucial elements of England’s conflicts. First, the formal qualities of poems and prose tracts reveal that not only was there a competition among different versions of the family-state analogy, but also a competition over its very status as an analogy. Second, through their negotiations of linear and nonlinear forms, Milton, Hutchinson, Dryden, and Astell demonstrate the centrality of temporality to the period’s political battles. Through close textual analysis of poetry, political tracts, parliamentary records, and nonliterary genealogies, Familial Forms offers a fresh understanding of the seventeenth-century politics of genealogy. It also provides new answers to long-standing critical questions about the poetic form of canonical works, such as Paradise Lost and Absalom and Achitophel, and illuminates the political significance of newly-canonical works by women writers, including Aemilia Lanyer’s Salve Deus Rex Judaeoreum, Hutchinson’s Order and Disorder, and Astell’s A Serious Proposal to the Ladies. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Chasing Slow models HGTV star Erin Loechner's journey to help you break out of the faster-better-stronger trap and make small changes to refresh your perspective, renew your priorities, and shift your focus to what matters most. You're here, but you want to be there. So you spend your life narrowing this divide, and you call this your race, your journey, your path. You live your days tightening your boot straps, wiping the sweat from your brow, chasing undiscovered happiness just around the bend. And on and on you run. Viral sensation and HGTV.com star Erin Loechner knows about the chase. Before turning 30, she'd earned the title "The Nicest Girl Online" as she was praised for her authentic voice and effortless style. Her HGTV web show garnered over one million fans worldwide, and her client list includes Walt Disney World, IKEA, Martha Stewart and Home Depot. The New York Times applauded her, her friends and church admired her, and her husband and baby adored her. She had arrived at the ultimate destination. So why did she feel so lost? Through a series of steep climbs--her husband's brain tumor, bankruptcy, family loss, and public criticism--Erin learns just how much strength it takes to surrender it all, and to veer right into grace. In Chasing Slow, Erin upgrades her life through downsizing--her stuff, her obligations, her fears, her personal metric of "perfect." And ultimately, her invitation becomes yours: to turn away from the fast and frenzy, and find freedom in a new-fashioned lifestyle defined by grace. Life's answers are not always hidden where they seem. It's time to venture off the beaten path to see that we’ve already been given everything we need. We've already arrived. You see? You'll see.
At its essential level, October is a coming-of-age expression of the aesthetics of youth, narrated through the cynical yet artistic perspective of Avery Patel, an individual immersed within the summer of adolescence; the most delicate age of one's existence. Singing lead in a garage band, Avery depicts the ambitions of a young performer through a realistic lens, illustrating life as a musician as inherently dysfunctional rather than what the social status suggests. Directly following a collective hardship, the band is forced to encounter the fragility of their own lives, placing their own existence into finite perspective. Aside from its immersive analysis of the music industry, October demonstrates the demeanor in which young people cope with a wide range of emotions. Narrated through drifting days of distress and intervals of intoxication, October is perceived as a story of transition, the conflict between façade and reality, and the duality of consciousness.
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