Airplane crash survivor Hannah Luce "tells her story, not just of what happened in the plane that day and of her long road to recovery, but of how the crash changed everything she thought she knew about friendship, family, and faith"--Dust jacket flap.
Airplane crash survivor Hannah Luce "tells her story, not just of what happened in the plane that day and of her long road to recovery, but of how the crash changed everything she thought she knew about friendship, family, and faith"--Dust jacket flap.
On the shores of Cape Cod, the Bailey sisters reunite with their long-lost father for a summer of hope and forgiveness in this heartfelt novel from the author of the “sharp and evocative” (Kirkus Reviews) Mystic Summer, The Lake Season, and The Summer House, sure to appeal to “fans of Elin Hilderbrand” (Booklist). Wrenn Bailey has lived all her life on Cape Cod with her mother Lindy, older sister Shannon, and younger sister Piper. Growing up, life was dictated by the seasons with sleepy gray winters where only the locals stayed on, followed by the sharp influx and colorful bustle of summer tourists who swept up the elbow of the Cape and infiltrated their small paradise. But it wasn’t just the tourists who interrupted Wrenn’s formative years; her father—brilliant but troubled photographer Caleb—has long made a habit of drifting in and out of his girls’ lives. Until the one summer he left the Cape and did not return again. Now, almost twenty years later, Caleb has come back one last time, suffering from pancreatic cancer and seeking absolution. Wrenn and her sisters each respond differently to their father’s return, determined to find closure. But that means returning to the past and revisiting old wounds—wounds that cause the tightknit Bailey women to confront their own wishes and wants, and admit to their own wrong-doings over the years. In a place that brings both great comfort and great pain, the Bailey sisters experience a summer on the Cape that promises not only hard endings, but perhaps, hopeful new beginnings.
The doctrine of the Trinity poses a series of problems for feminist theology. At a basic level, the androcentric nature of trinitarian language serves to promote the male as more fully in the image of God and as the archetype of humanity, pushing women to the margins of personhood. It is no surprise then that feminist scholarship on this doctrine has often focused on what's wrong with the Trinity, setting out the problems raised by the use of traditional androcentric trinitarian language. This book brings together a discussion of feminist theological methodology with a critical exploration of the doctrine of the Trinity. Focussing on what's right with the Trinity as opposed to what's wrong with the Trinity, it considers the usefulness of this doctrine for feminist theology today. It replaces a stress on trinitarian language with an emphasis on trinitarian thought, exploring how we might effectively think rather than speak God in light of feminist concerns. In particular, it asks how a trinitarian understanding of God might support, and be supported by, key values which underpin a feminist way of doing theology, specifically values which underpin the methodological use of women's experience in feminist theology. The central argument is that thinking God as Trinity need not serve to reinforce patriarchal values and ideals but may in fact promote the subjectivity and personhood of women.
In a lecture delivered before the University of Oxford’s Anglo-French Society in 1936, Gertrude Stein described romance as “the outside thing, that . . . is always a thing to be felt inside.” Hannah Roche takes Stein’s definition as a principle for the reinterpretation of three major modernist lesbian writers, showing how literary and affective romance played a crucial yet overlooked role in the works of Stein, Radclyffe Hall, and Djuna Barnes. The Outside Thing offers original readings of both canonical and peripheral texts, including Stein’s first novel Q.E.D. (Things As They Are), Hall’s Adam’s Breed and The Well of Loneliness, and Barnes’s early writing alongside Nightwood. Is there an inside space for lesbian writing, or must it always seek refuge elsewhere? Crossing established lines of demarcation between the in and the out, the real and the romantic, and the Victorian and the modernist, The Outside Thing presents romance as a heterosexual plot upon which lesbian writers willfully set up camp. These writers boldly adopted and adapted the romance genre, Roche argues, as a means of staking a queer claim on a heteronormative institution. Refusing to submit or surrender to the “straight” traditions of the romance plot, they turned the rules to their advantage. Drawing upon extensive archival research, The Outside Thing is a significant rethinking of the interconnections between queer writing, lesbian living, and literary modernism.
One of the great unmissables of this genre - intelligent, classy and with a wonderfully Gothic imagination' - The Times He's not your son. It's not up to you to save him. But you have to try. After escaping London and a career that nearly destroyed her, Justine plans to spend her days doing as little as possible in her beautiful home in Devon. But soon after the move, her daughter Ellen starts to withdraw when her new best friend, George, is unfairly expelled from school. Justine begs the head teacher to reconsider, only to be told that nobody's been expelled - there is, and was, no George. Then the anonymous calls start: a stranger, making threats that suggest she and Justine share a traumatic past and a guilty secret - yet Justine doesn't recognise her voice. When the caller starts to talk about three graves - two big and one small, to fit a child - Justine fears for her family's safety. If the police can't help, she'll have to eliminate the danger herself, but first she must work out who she's supposed to be...
With the beautiful, powerful, and sexy Madame Chiang Kai-shek at the center of one of the great dramas of the twentieth century, this is the story of the founding of modern China, starting with a revolution that swept away more than 2,000 years of monarchy, followed by World War II, and ending in the eventual loss to the Communists and exile in Taiwan. An epic historical tapestry, this wonderfully wrought narrative brings to life what Americans should know about China -- the superpower we are inextricably linked with -- the way its people think and their code of behavior, both vastly different from our own. The story revolves around this fascinating woman and her family: her father, a peasant who raised himself into Shanghai society and sent his daughters to college in America in a day when Chinese women were kept purposefully uneducated; her mother, an unlikely Methodist from the Mandarin class; her husband, a military leader and dogmatic warlord; her sisters, one married to Sun Yat-sen, the George Washington of China, the other to a seventy-fifth lineal descendant of Confucius; and her older brother, a financial genius. This was the Soong family, which, along with their partners in marriage, was largely responsible for dragging China into the twentieth century. Brilliantly narrated, this fierce and bloody drama also includes U.S. Army General Joseph Stilwell; Claire Chennault, head of the Flying Tigers; Communist leaders Mao Tse-tung and Chou En-lai; murderous warlords; journalists Henry Luce, Theodore White, and Edgar Snow; and the unfortunate State Department officials who would be purged for predicting (correctly) the Communist victory in the Chinese Civil War. As the representative of an Eastern ally in the West, Madame Chiang was befriended -- before being rejected -- by the Roosevelts, stayed in the White House for long periods during World War II, and charmed the U.S. Congress into giving China billions of dollars. Although she was dubbed the Dragon Lady in some quarters, she was an icon to her people and is certainly one of the most remarkable women of the twentieth century.
The concept of Roman peace (pax) did not just denote the absence of war but formed part of a much greater discourse on how Rome conceptualized herself. This volume explores its changing meaning from Republic to Principate, arguing that it is fundamental to understanding the shifting balance of power and the creation of the Roman Empire.
Focusing on questions of space and locale in children’s literature, this collection explores how metaphorical and physical space can create landscapes of power, knowledge, and identity in texts from the early nineteenth century to the present. The collection is comprised of four sections that take up the space between children and adults, the representation of 'real world' places, fantasy travel and locales, and the physical space of the children’s book-as-object. In their essays, the contributors analyze works from a range of sources and traditions by authors such as Sylvia Plath, Maria Edgeworth, Gloria Anzaldúa, Jenny Robson, C.S. Lewis, Elizabeth Knox, and Claude Ponti. While maintaining a focus on how location and spatiality aid in defining the child’s relationship to the world, the essays also address themes of borders, displacement, diaspora, exile, fantasy, gender, history, home-leaving and homecoming, hybridity, mapping, and metatextuality. With an epilogue by Philip Pullman in which he discusses his own relationship to image and locale, this collection is also a valuable resource for understanding the work of this celebrated author of children’s literature.
Honeymooners at a posh resort receive an ominous warning with deadly consequences in the latest gripping, twisty psychological thriller from New York Times bestselling author Sophie Hannah. Jane and William are enjoying their honeymoon at an exclusive couples-only resort… …until Jane receives a chilling note warning her to “Beware of the couple at the table nearest to yours.” At dinner that night, five other couples are present, and none of their tables is any nearer or farther away than any of the others. It’s almost as if someone has set the scene in order to make the warning note meaningless—but why would anyone do that? Jane has no idea. But someone in this dining room will be dead before breakfast, and all the evidence will suggest that no one there that night could have possibly committed the crime.
A state-by-state analysis of the expansion of medical marijuana access in the United States As of 2023, thirty-eight states and the District of Columbia have legalized the medical use of marijuana. Twenty-three have legalized recreational use, supporting what is now a flourishing multibillion-dollar industry. In Green Rush, Daniel J. Mallinson and A. Lee Hannah offer a fascinating history of cannabis legalization in America, highlighting the people, states, and policies that made these victories possible. With sharp insight, Mallinson and Hannah explore the backdrop to this sea change in policy, including shifts in public opinion, growing opposition to the War on Drugs, the promise of new revenue streams, and more. They examine the complex web of state actors—and the steps they took—to chart a path forward for marijuana legalization, from grassroots activists and interest groups to elected officials and other key policymakers. Mallinson and Hannah show us how states like Pennsylvania, Ohio, and West Virginia not only created, legitimized, and spread medical marijuana policy but also learned from each other’s successes and failures throughout the process. As marijuana legalization increasingly finds its way onto state ballots, Green Rush offers fresh insight into how we got here as a country and where we are going—one state at a time.
Hannah's writing makes me laugh and laugh and LAUGH... I am officially a fan girl' Lucy Vine Welcome to Izzy's rollercoaster year of saying yes. Get ready for non-stop hilarity, unadulterated entertainment and the journey of a lifetime. The Year of Saying Yes was originally published as a four-part serial. This is the complete story! For fans of Anna Bell and Zoe May... Dear Readers, I hold my hands up: I'm stuck in a rut. For three years and counting I've been hopelessly in love with the same guy - and the closest we've ever got is a drunken arse grab (NB: this doesn't count). My favourite hobby is googling cats for spinsters and I'm sick of my shoestring salary that barely pays for my shoebox flat. I need a head-to-toe life makeover. Enter my 'Year of Saying Yes', which is where you come in. To help me sort out my sorry life, I need you to #DareIzzy. For the next 12 months I'll be saying 'yes' to your challenges, no matter how wild, adventurous or plain nuts they are. 'No' is not an option! Here goes... Wish me luck! I'm going to need it. Love, Izzy x Readers love THE YEAR OF SAYING YES: 'Prepare yourself readers, you will be in hysterics in laughter until your belly hurts. I FREAKING LOVED THIS... I feel like I have reunited with my old love. *happily sighs*' A Crave For Books Blog 'Move over Bridget Jones there's a new girl in town!' Goodreads reviewer 'A hilarious read' Bella magazine 'The most excellent and humorous book I have read in a very long time' Dreaming With Open Eyes 'I loved loved this book, it was fun, hilarious and witty' Escapades of a Bookworm 'SO good ... full of laugh-out-loud moments' On My Bookshelf 'A bundle of laughs' The Book Magnet '4% in, I was already laughing out loud and snorting ... the other 96% just kept getting better' The Writing Garnet 'A fabulous and fun read' By The Letter Book Reviews 'A hilarious, light hearted read' BrizzleLass Books 'A breath of fresh air, that made me laugh and smile the whole way through... I will be telling anyone who will listen to me, just how great this story really is' Kelly's Book Corner 'Hannah Doyle's witty writing had me hook, line and sinker' Shaz's Book Blog 'I highly encourage everyone to pick up this story' Alba In Bookland 'Ultimate beach read' Reveal magazine 'This is a laugh out loud level of funny ... an all around fun book to read ' Rachel's Random Reads Blog 'Prepare yourself readers you will be in hysterics in laughter until your belly hurts' A Crave For Books Blog
From a Nation Torn provides a powerful critique of art history's understanding of French modernism and the historical circumstances that shaped its production and reception. Within art history, the aesthetic practices and theories that emerged in France from the late 1940s into the 1960s are demarcated as postwar. Yet it was during these very decades that France fought a protracted series of wars to maintain its far-flung colonial empire. Given that French modernism was created during, rather than after, war, Hannah Feldman argues that its interpretation must incorporate the tumultuous "decades of decolonization"and their profound influence on visual and public culture. Focusing on the Algerian War of Independence (1954–1962) and the historical continuities it presented with the experience of the Second World War, Feldman highlights decolonization's formative effects on art and related theories of representation, both political and aesthetic. Ultimately, From a Nation Torn constitutes a profound exploration of how certain populations and events are rendered invisible and their omission naturalized within histories of modernity.
Hannah Bacon draws on qualitative research conducted inside one UK secular commercial weight loss group to show how Christian religious forms and theological discourses inform contemporary weight-loss narratives. Bacon argues that notions of sin and salvation resurface in secular guise in ways that repeat well-established theological meanings. The slimming organization recycles the Christian terminology of sin – spelt 'Syn' – and encourages members to frame weight loss in salvific terms. These theological tropes lurk in the background helping to align food once more with guilt and moral weakness, but they also mirror to an extent the way body policing techniques in Christianity have historically helped to cultivate self-care. The self-breaking and self-making aspects of women's Syn-watching practices in the group continue certain features of historical Christianity, serving in similar ways to conform women's bodies to patriarchal norms while providing opportunities for women's self-development. Taking into account these tensions, Bacon asks what a specifically feminist theological response to weight loss might look like. If ideas about sin and salvation service hegemonic discourses about fat while also empowering women to shape their own lives, how might they be rethought to challenge fat phobia and the frenetic pursuit of thinness? As well as naming as 'sin' principles and practices which diminish women's appetites and bodies, this book forwards a number of proposals about how salvation might be performed in our everyday eating habits and through the cultivation of fat pride. It takes seriously the conviction of many women in the group that food and the body can be important sites of power, wisdom and transformation, but channels this insight into the construction of theologies that resist rather than reproduce thin privilege and size-ist norms.
Beautiful, heart-rending, life-affirming' Clare Mackintosh The river can lead you home. Or it can take you under... In their ramshackle Somerset home, its gardens running down to the river, the Sorrells have gathered for a last-minute wedding. Lucy is desperate to reunite her fractured family. Eve is fighting to keep her perfect life together. Their mother, Kit, a famous author whose stories have run dry, still seethes with resentment towards her youngest child. And Margot, who left home eight years ago under a black cloud, is forced to come face to face with her darkness... As the family come together for a week of celebration and confrontation, their relationships are stretched to breaking point. But can you ever heal the wounds of the past? A spellbinding family drama about sisterhood, secrets and forgiveness - this is a truly unforgettable read. *** Readers are being swept away by The River Home: 'Beautiful and gripping' LIBBY PAGE, bestselling author of The Lido 'A heartwrenching and beautifully written page-turner' SUSAN ELLIOT WRIGHT 'No one does dark family secrets like Hannah Richell . . . Beguiling, beautifully written and richly evocative, The River Home will sweep you away' VERONICA HENRY 'A tender portrait of a perfectly imperfect family; wise, big-hearted and beautifully written' EMYLIA HALL
In the nineteenth century, new cemeteries were built in many Italian cities that were unique in scale and grandeur, and which became destinations on the Grand Tour. From the Middle Ages, the dead had been buried in churches and urban graveyards but, in the 1740s, a radical reform across Europe prohibited burial inside cities and led to the creation of suburban burial grounds. Italy’s nineteenth-century cemeteries were distinctive as monumental or architectural structures, rather than landscaped gardens. They represented a new building type that emerged in response to momentous changes in Italian politics, tied to the fight for independence and the creation of the nation-state. As the first survey of Italy’s monumental cemeteries, the book explores the relationship between architecture and politics, or how architecture is formed by political forces. As cities of the dead, cemeteries mirrored the spaces of the living. Against the backdrop of Italy’s unification, they conveyed the power of the new nation, efforts to construct an Italian identity, and conflicts between Church and state. Monumental cemeteries helped to foster the narratives and mentalities that shaped Italy as a new nation.
As the symbolists, constructivists and surrealists of the historical avant-garde began to abandon traditional theatre spaces and embrace the more contingent locations of the theatrical and political ‘event’, the built environment of a performance became not only part of the event, but an event in and of itself. Event-Space radically re-evaluates the avant garde’s championing of nonrepresentational spaces, drawing on the specific fields of performance studies and architectural studies to establish a theory of ‘performative architecture’. ‘Event’ was of immense significance to modernism’s revolutionary agenda, resisting realism and naturalism – and, simultaneously, the monumentality of architecture itself. Event-Space analyzes a number of spatiotemporal models central to that revolution, both illuminating the history of avant-garde performance and inspiring contemporary approaches to performance space.
French realist texts are driven by representations of the body and depend on corporeality to generate narrative intrigue. But anxieties around bodily representation undermine realist claims of objectivity and transparency. Aspects of bodily reality which threaten les bonnes moeurs - gender confusion, sexual appetite, disability, torture, murder, child abuse and disease - rarely occupy the foreground and are instead spurned or only partially alluded to by writers and critics. This wide-ranging study uses the notion of the taboo as a powerful means of interpreting representations of the body. The hidden bodies of realist texts reveal their secrets in unexpected ways. Thompson reads texts by Sand, Rachilde, Maupassant, Hugo, Barbey d'Aurevilly, Mirbeau and Zola alongside modern theorists of the body to show how the figure of the taboo plots an alternative model of author-reader relations based on the struggle to speak the unspeakable. Dr Hannah Thompson is a Senior Lecturer in French at Royal Holloway, University of London. Her first book, Naturalism Redressed: Identity and Clothing in the Novels of Emile Zola, was published by Legenda in 2004.
Beginning with the Cold War and concluding with the 2003 invasion of Iraq, Hannah Gurman explores the overlooked opposition of U.S. diplomats to American foreign policy in the latter half of the twentieth century. During America's reign as a dominant world power, U.S. presidents and senior foreign policy officials largely ignored or rejected their diplomats' reports, memos, and telegrams, especially when they challenged key policies relating to the Cold War, China, and the wars in Vietnam and Iraq. The Dissent Papers recovers these diplomats' invaluable perspective and their commitment to the transformative power of diplomatic writing. Gurman showcases the work of diplomats whose opposition enjoyed some success. George Kennan, John Stewart Service, John Paton Davies, George Ball, and John Brady Kiesling all caught the attention of sitting presidents and policymakers, achieving temporary triumphs yet ultimately failing to change the status quo. Gurman follows the circulation of documents within the State Department, the National Security Council, the C.I.A., and the military, and she details the rationale behind "The Dissent Channel," instituted by the State Department in the 1970s, to both encourage and contain dissent. Advancing an alternative narrative of modern U.S. history, she connects the erosion of the diplomatic establishment and the weakening of the diplomatic writing tradition to larger political and ideological trends while, at the same time, foreshadowing the resurgent significance of diplomatic writing in the age of Wikileaks.
Does human life have any significance? The statements below have become widely accepted in the Western world: •Life is the accidental product of random events. •The laws of physics are totally deterministic. •Science does not accept a connection between physical matter and human consciousness. •Atheism is a conclusion from evidence while faith is speculation. •Science and faith are incompatible. •Suffering contradicts the existence of a loving, omnipotent God. •Jesus was a compilation of pagan mythologies or a human teacher who was deified. But do these statements represent eternal truths? Are they logical conclusions based on established facts or merely opinions? What is the evidence? To investigate these and other questions of existence and faith, a skeptical academic objectively explored relevant aspects of philosophy, mythology, history, archaeology, cosmology, quantum physics, biochemistry, and various faiths that finally led to investigation of the Judeo-Christian Scriptures (including the Dead Sea Scrolls and the gnostic gospels). The findings of this research not only challenge many modern assumptions but also have significant implications for our understanding of reality. Written with minimum technicality for general readership, this book presents a wide range of interesting and carefully confirmed facts relevant to the above questions. Whether you are an atheist or an agnostic, a Christian, or a follower of another faith, or have simply not been interested, this investigation provides valuable and surprising insights into the nature of the universe and our place in it.
Reconsidering the relationship between autobiography and self-portraiture, The Body as Medium and Metaphor explores the intertextuality of self-representation in twentieth-century French art. Situating the body as the nexus of intersections between the written word and the visual image, this book rethinks the problematic status of the self. Starting at the twentieth-century's departure from figurative and mimetic representation, this study discusses the work of seminal artists and writers - including Marcel Duchamp, Michel Leiris, Francis Bacon, Bernard Noël, Gisèle Prassinos, Louise Bourgeois and Orlan - to articulate the twentieth century's radical revisions of subjectivity that originated from and returned to representations of the word, the image, and the body. This volume will be of interest to students of both French Literature and Art History, particularly those who are interested in the interdisciplinary exchanges between visual arts and literature.
Historicizing both emotions and politics, this open access book argues that the historical work of emotion is most clearly understood in terms of the dynamics of institutionalization. This is shown in twelve case studies that focus on decisive moments in European and US history from 1800 until today. Each case study clarifies how emotions were central to people’s political engagement and its effects. The sources range from parliamentary buildings and social movements, to images and speeches of presidents, from fascist cemeteries to the International Criminal Court. Both the timeframe and the geographical focus have been chosen to highlight the increasingly participatory character of nineteenth- and twentieth-century politics, which is inconceivable without the work of emotions.
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