An uncompromising and compelling feminist Western for readers of The Natural Way of Things. In Darkwater, being female doesn't amount to much. But Chelsea's luckier than most. She's the young lover of the town's feared leader, which she keeps telling herself is a good thing, what with food getting scarce and the wells drying up. She's secure and safe and can almost believe she's happy. But when a stranger rides into town, gun on one hip, whip on the other, Chelsea can't look away. Especially when it turns out this stranger is a woman. Nobody can say what the stranger is there for. But she brings talk of an outside perhaps no longer so chaotic, no longer something to hide away from - and she knows far too much about dark choices made in the town when the world outside was falling apart. As the rumours fly about Darkwater's bloodied past and the murder of a woman twenty years earlier, Chelsea finds herself being drawn into someone else's terrifying quest for justice. Or is it merely deadly revenge? In a place ruled by fear, Chelsea's going to have to decide whose side she's really on, and how far she's prepared to go to uncover the town's dirty secrets before more blood soaks the ground of Darkwater - this time, perhaps her own. Original, unflinching, gritty and visionary, The Stranger is a stunning feminist Western for our times. 'The Stranger is the kind of book you wish you'd written and yet are so grateful to have been able to read. A wild and glorious ride!' CLEMENTINE FORD, author of How We Love and Fight Like A Girl 'A feisty heroine ... so entertaining.' JESSIE TU, author of A Lonely Girl is a Dangerous Thing
Featuring the work of: Lawrence Block, Chris Simms, Brian G Ross, Deborah Sheldon, Alan Baxter, Kathryn Hore, Vanessa Skye, Cameron Ashley, Andrew Nette, Brooke Maggs, Will Elliot and Zane Lovitt.
In Sunshine Bright and Darkness Deep is an anthology like no other. The tales herein will take you on a weird and terrifying journey. You will set out on a road trip and find yourself trapped in the arid Australian outback where a little girl and her grandfather struggle to survive. There are isolated farmhouses threatened by bushfires and bullets, and rainforests teeming with bloodthirsty bugs. The cities are full of trouble too. The murky waters of the Brisbane River hide spiteful spirits and the suburbs are infested with insane inhabitants masquerading as ordinary human beings. Then, you will leave Australia, departing from Melbourne, to hunt down vampiric gangsters in Southeast Asia, before sailing future seas and visiting realms beyond this world altogether. This inaugural showcase anthology features the work of just a handful of the many talented and darkly imaginative authors who make up the Australian Horror Writers' Association. If you are unfamiliar with Australian horror, let this book be just the first step on a long voyage of discovery.
Ho ho oh hell, is it that time of year again? Already? When the muzak starts cranking out lousy Casio versions of "It's Beginning to Look a Lot Like Christmas" non-stop? When the flavor du jour switches from pumpkin spice to eggnog every damned thing? When the world gets all twinkley and glittery and your eyes just want to roll out of your skull from the sparkle overload? When the clatter and jangle of the Salvation Army bell-swingers standing outside every shop entry and exit makes you want to put your ears out with an icepick? Worse: how about when every other person you come across wants to infect you with the holiday cheer, whether you want it or not? When the constant refrain is: "Remember the Reason for the Season" as if the reason isn't the cash register? When we have to hear the never-ending idiot bleating from certain quarters about the war on Christmas? Seriously, is it that time of year again already? Well, if that's got you feeling like Krampus, you've come to the right place. We don't give a tinseled crap about the reason for the season. Deck the halls with this. They want a war on Christmas? Fine. Here it is. And we don't take prisoners.
Winner of the Frederick Jackson Turner Award Winner of James H. Broussard Best First Book Prize, SHEAR Winner of the Kemper and Leila Williams Prize in Louisiana History Winner of the Humanities Book of the Year Award, Louisiana Endowment for the Humanities “A brilliant book...This transformative work is a pivotal addition to the scholarship on American slavery.” —Annette Gordon-Reed “A stunning account of ‘high-risk, high-reward’ profiteering in the yellow fever–ridden Crescent City...a world in which a deadly virus altered every aspect of a brutal social system, exacerbating savage inequalities of enslavement, race, and class.” —John Fabian Witt, author of American Contagions “Olivarius’s new perspectives on yellow fever, immunocapitalism, and the politics of acclimation...will influence a generation of scholars to come on the intersections of racism, slavery, and public health.” —The Lancet In antebellum New Orleans, at the heart of America’s slave and cotton kingdoms, epidemics of yellow fever killed as many as 150,000 people. With little understanding of the origins of the illness—and meager public health infrastructure—one’s only hope if infected was to survive, providing the lucky few with a mysterious form of immunity. Repeated epidemics bolstered New Orleans’s strict racial hierarchy by introducing another hierarchy, a form of “immunocapital,” as white survivors leveraged their immunity to pursue economic and political advancement while enslaved Blacks were relegated to the most grueling labor. The question of health—who has it, who doesn’t, and why—is always in part political. Necropolis shows how powerful nineteenth-century Orleanians constructed a society that capitalized on mortal risk and benefited from the chaos that ensued.
The Owl and the Nightingale is clearly one of the few major Middle English poems. Despite the clarity and simplicity of its text, however, the poem has occasioned bitter and still unresolved interpretative controversy. Is the key to its meaning to be found in bird lore? the debate form? Is the poem a political or religious allegory? Despite the radical contradictions in the conclusions of previous critics, most of them have implicitly claimed a unique and exclusive validity. Kathryn Hume's purpose in writing this book is to offer a new account of the poem, one based on a systematic attempt to assess the validity and usefulness of various possible approaches to the work. She shows saneness, balance, and humour both in her criticism of previous interpretations and in her own conclusions. We need, she insists, to understand the nature of the poem before we erect elaborate theories about its meaning. The contradictoriness of the relevant avian traditions, the birds' complete incompetence as debaters, the poem's curiously indeterminate ending, and the critics' inability to agree even on the subject of the controversy, she argues, makes it difficult to see the work as a serious debate about anything. Attempts to find an extrinsic or allegorical meaning have proven radically contradictory and have all neglected large portions of the poem. But since no serious issue is present in the bird's dialogue, the meaning of the poem must indeed be sought elsewhere. Analysis of The Owl and the Nightingale's sequential impact and its manipulation of audience response emphasize the debate's lack of direction, its bitterness, and also – from the reader's point of view – its humour. Kathryn Hume argues that a great deal is clarified and made comprehensible if we regard the poem as a burlesque-satire on human contentiousness. The birds' illogic, the wandering arguments, the unsystematic introduction of various human concerns, and the inconclusive ending are all consistent with the idea that the poem was written as a witty caricature of petty but vicious human quarrelling. Both for its sane reinterpretation of what is widely considered one of the masterpieces of Middle English literature and for the interpretative methodology it employs, The Owl and the Nightingle: The Poem and Its Critics should be of lasting value to medievalists.
In this study, Kathryn Walls challenges the standard identification of Una with the post-Reformation English Church, arguing that she is, rather, Augustine’s City of God – the invisible Church, whose membership is known only to God. Una’s story (its Tudor resonances notwithstanding) therefore embraces that of the Synagogue before the Incarnation as well as that of the Church in the time of Christ and thereafter. It also allegorises the redemptive process that sustains the true Church. Una is fallible in canto I. Subsequently, however, she comes to embody divine perfection. Her transformation depends upon the intervention of the lion as Christ. Convinced of the consistency and coherence of Spenser’s allegory, Walls offers fresh interpretations of Abessa (as Synagoga), of the fauns and satyrs (the Gentiles), and of Una’s dwarf (adiaphoric forms of worship). She also reinterprets Spenser’s marriage metaphor, clarifying the significance of Red Cross as Una’s spouse in the final canto.
In this first story in a new series, set in 19th century Canada and the U.S. West, Scottish physician Colin Fraser impulsively joins the Northwest Mounted Police. A raid on a large bootleg whiskey operation nets a desperately ill bootlegger -- beautiful, defiant Maggie Hayes. As Colin nurses her back to health, she stubbornly resists his efforts to teach her a new way of life.
The Instructor's Edition includes a visual preface and a Resource Integration Guide, showing instructors how to integrate print and media supplements in to the course.
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