NEW YORK TIMES BESTSELLER "[A] delectable double bio . . . Talk about Victoria’s secret. . . . A fascinating portrait of a genuine love match, but one in which the partners dealt with surprisingly modern issues.” —USA Today It was the most influential marriage of the nineteenth century—and one of history’ s most enduring love stories. Traditional biographies tell us that Queen Victoria inherited the throne as a naïve teenager, when the British Empire was at the height of its power, and seemed doomed to find failure as a monarch and misery as a woman until she married her German cousin Albert and accepted him as her lord and master. Now renowned chronicler Gillian Gill turns this familiar story on its head, revealing a strong, feisty queen and a brilliant, fragile prince working together to build a family based on support, trust, and fidelity, qualities neither had seen much of as children. The love affair that emerges is far more captivating, complex, and relevant than that depicted in any previous account. The epic relationship began poorly. The cousins first met as teenagers for a few brief, awkward, chaperoned weeks in 1836. At seventeen, charming rather than beautiful, Victoria already “showed signs of wanting her own way.” Albert, the boy who had been groomed for her since birth, was chubby, self-absorbed, and showed no interest in girls, let alone this princess. So when they met again in 1839 as queen and presumed prince-consort-to-be, neither had particularly high hopes. But the queen was delighted to discover a grown man, refined, accomplished, and whiskered. “Albert is beautiful!” Victoria wrote, and she proposed just three days later. As Gill reveals, Victoria and Albert entered their marriage longing for intimate companionship, yet each was determined to be the ruler. This dynamic would continue through the years—each spouse, headstrong and impassioned, eager to lead the marriage on his or her own terms. For two decades, Victoria and Albert engaged in a very public contest for dominance. Against all odds, the marriage succeeded, but it was always a work in progress. And in the end, it was Albert’s early death that set the Queen free to create the myth of her marriage as a peaceful idyll and her husband as Galahad, pure and perfect. As Gill shows, the marriage of Victoria and Albert was great not because it was perfect but because it was passionate and complicated. Wonderfully nuanced, surprising, often acerbic—and informed by revealing excerpts from the pair’s journals and letters—We Two is a revolutionary portrait of a queen and her prince, a fascinating modern perspective on a couple who have become a legend.
Once in a cursed land devoid of beauty, a lost child lays eyes on a creature of legend. Awed by a giant deer and its otherworldly allure, the child will remember the sighting, keeping it as close as treasure until life's hardships strip away its lustre. It's many years before a travelling bard will weave a song of the Enchanted Deer, a giant from the time the world was created, and revive the childhood wonder in the young Fool's heart. The village in the Land of Old Wives is a quiet, desolate place, but when a witch threatens the peace, the Fool puts aside his quest and persuades a passing knight to aid him in vanquishing her. Together they engage her in a battle and believe the Witch to be conquered. With a metal of bravery in hand, the Fool announces that he will pursue The Enchanted Deer once more. When he sets out to chase his dreams, at last, the Fool discovers his fate is entwined with the last person he expected. The Witch and the Fool plunge into an adventure like no other. Side by side, they search for answers and end up uncovering what neither realized their hearts were seeking—a place in the world where they can truly be themselves.
By means of contextualized readings, this work argues that autobiographic writing allows an intimate access to processes of colonization and decolonization, incorporation and resistance, and the formation and reformation of identities which occurs in postcolonial space. The book explores the interconnections between race, gender, autobiography and colonialism and uses a method of reading which looks for connections between very different autobiographical writings to pursue constructions of blackness and whiteness, femininity and masculinity, and nationality. Unlike previous studies of autobiography which focus on a limited Euro American canon, the book brings together contemporary and 19th-century women's autobiographies and travel writing from Canada, the Caribbean, Kenya, South Africa, Australia and New Zealand. With emphasis on the reader of autobiography as much as the subject, it argues that colonization and resistance are deeply embedded in thinking about the self.
Some of the theories Genlis adopts in the education of the eponymous children have their roots in Rousseau's "Emile". However, Genlis herself suggested that Rousseau knew little of the practical education of children. This work is placed within the context of the late eighteenth-century debate on female education.
This is a book about classical music – for people who say they love music “but don’t understand how it works”, as well as for performers and music students of all ages. Proposing that deeper enjoyment begins with an understanding of music’s basic structures, the book describes how the simple template of earlier dance-songs was adapted by composers writing music for instruments. The instrumental sonata became one of the great formal frameworks of western music: in symphonies, concertos, chamber music and solo sonatas, it dominated concert music for some 250 years – yet it is little understood by many music lovers. To simplify this vast field, Past Sounds singles out for study “sonatas” for piano trio – piano, violin and ’cello. These instruments have well-contrasted and easily identifiable sounds, and as the story unfolds the reader is introduced to many rarely heard but beautiful works for piano trio. This is a lively, clearly-written narrative as well as a handbook for subsequent listening. The book has two distinctive features. Firstly, technical terms are carefully explained, and for those not familiar with music notation, audio clips in an accompanying website reproduce the actual sound of the music described. Secondly, in a broad historical sweep from mid-18th to 20th centuries, the development of the sonata is followed in its context of contemporary arts and literature – demonstrating how the sonata idea of classical music well deserves to be understood and valued as a western cultural archetype alongside other great artistic and literary forms.
The Oxford Studies in Postcolonial Literatures series offers stimulating and accessible introductions to definitive topics and key genres and regions within the rapidly diversifying field of postcolonial literary studies in English. Postcolonial Life Narrative draws together two dynamic fields of contemporary literature and criticism, postcolonialism and life narrative, to create a new assemblage: postcolonial life narrative. Focusing in particular on testimonial narrative, from slave narrative in the late eighteenth century to contemporary Anglophone life narrative from Africa, Australia, the Caribbean, Palestine, North America, and India, this study follows texts on the move through adaptation, appropriation, and remediation. For postcolonial subjects life narrative offers extraordinary opportunities to present accounts of social injustice and oppression, of violence and social suffering. Testimonial narrative can reach across cultures to produce intimate attachments between those who testify and those who bear witness to legacies of apartheid, slavery, rape warfare, genocide, and dispossession. Thresholds of testimony are subject to change and for some, for example refugees and asylum seekers, opportunities to engage a witnessing public and inspire campaigns for social justice on their behalf are curtailed—these are the 'ends of testimony'. The production, circulation, and reception of testimonial life narrative connects directly to the most fundamental questions of who counts as human, what rights follow from this, and what makes for grievable life. Postcolonial life narrative is a dynamic field of literature and criticism, and this book presents a series of proximate readings that outline its distinctive imaginative geographies.
“Masterful. . . . presents a cogent and compelling picture of preschool programs serving low socioeconomic status students who achieve equity and excellence.” —Choice The High-Performing Preschool takes readers into the lives of three- and four-year-old Head Start students during their first year of school and focuses on the centerpiece of their school day: story acting. In this activity, students act out stories from high-quality children’s literature as well as stories dictated by their peers. Drawing on a unique pair of thinkers—Russian psychologist Lev Vygotsky and renowned American teacher and educational writer Vivian G. Paley—Gillian Dowley McNamee elucidates the ways, and reasons, this activity is so successful. She shows how story acting offers a larger blueprint for curricula that helps ensure all preschools—not just those for society’s well-to-do—are excellent. McNamee outlines how story acting cultivates children’s oral and written language skills. She shows how it creates a crucial opportunity for teachers to guide children inside the interior logic and premises of an idea, and how it fosters the creation of a literary community. Starting with Vygotsky and Paley, McNamee paints a detailed portrait of high-quality preschool teaching, showing how educators can deliver on the promise of Head Start and provide a setting for all young children to become articulate, thoughtful, and literate learners. “As McNamee demonstrates in detail, a classroom is never simply a setting: by engaging what is already there—the students’ ideas, imaginations, experiences, stories, relations, and conversations—it becomes a powerful source of development.” —Luis C. Moll, University of Arizona
Take twelve exciting stories about witches and wizards, culled from traditional folk tales around the world. Add a few verses and songs about sorcerers and the like. Sprinkle on some magic words and spells, and blend in details of real-life magicians and witchcraft through the ages. Then decorate with lots of weird and wonderful illustrations, full of things that go bump in the night. Mix well- and you have the magical brew of fact and fiction.
Wyldcliffe Abbey School for Young Ladies, housed in a Gothic mansion on the bleak northern moors, is elite, expensive, and unwelcoming. When Evie Johnson is torn away from her home by the sea to become the newest scholarship student, she is more isolated than she could have dreamed. Strict teachers, snobbish students, and the oppressive atmosphere of Wyldcliffe leave Evie drowning in loneliness. Evie's only lifeline is Sebastian, a rebellious, mocking, dangerously attractive young man she meets by chance. As Evie's feelings for Sebastian grow with each secret meeting, she starts to fear that he is hiding something about his past. And she is haunted by glimpses of a strange, ghostly girl—a girl who is so eerily like Evie, she could be a sister. Evie is slowly drawn into a tangled web of past and present that she cannot control. And as the extraordinary, elemental forces of Wyldcliffe rise up like the mighty sea, Evie is faced with an astounding truth about Sebastian, and her own incredible fate. Gillian Shields's electrifying tale will dazzle readers with suspense, mysticism, and romance.
With shades of E. Lockhart’s We Were Liars and Courtney Summers’s Sadie, this dark and twisted mystery set in a divided Maine seaside town simmers with unresolved tensions and unpredictable truths. Everyone in Tenney’s Harbor knows about the Garrison tragedy. How an unexplained fire ravaged their house, killing four of the five family members. But what people don’t know is who did it. All fingers point at Pearl Haskins’ father, who was the caretaker of the property, but Pearl just doesn’t believe it. Leave it to a town of rich people to blame “the help.” With her disgraced father now trying to find work in between booze benders, Pearl’s future doesn’t hold much more than waiting tables at the local country club, where the wealthy come to flaunt their money and spread their gossip. This year, Tristan, the last surviving Garrison, and his group of affluent and arrogant friends have made a point of sitting in Pearl’s section. Though she’s repulsed by most of them, Tristan’s quiet sadness and somber demeanor have her rethinking her judgments. Befriending the boys could mean getting closer to the truth, clearing her father’s name, and giving Tristan the closure he seems to be searching for. But it could also trap Pearl in a sinister web of secrets, lies, and betrayals that would leave no life unchanged…if it doesn’t take hers first.
One of a series of "books on the Canadian provinces and territories. Information is provided in the form of maps, photographs, anecdotes, biographies, fun facts and more" Cf. Our choice, 1996-1997
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.