Everyone has secrets, but the skeletons in Jen's closet are bigger than most: by day, she writes fanfiction for her favorite TV show, Gemini Divided, but by night, she works as an assassin to pay her mother's chemotherapy bills. Her world tilts on its axis the day she is assigned to kill Will Bryant-the handsome and charming star of Gemini Divided, and her celebrity crush. What could Will have done to land on someone's hit list? The assignment gets Jen up close and personal with Will, who is just as kind in person as he is in the media coverage she obsesses over. When she stumbles onto the reason Will ended up as her target, she must make a life-altering choice: kill Will and keep her mother alive, or save Will and put herself in danger, leaving no way to fund her mother's treatments in the future. She has to decide quickly, because in two days, the choice will be made for her.
The proverb goes that "blood is thicker than water." But do common bloodlines in fact demand special duties or prescribe affections? Does this maxim presume that we can or should only love others biologically similar to ourselves? Are we nobler if we do, or somehow defective if we don't? "Thicker than Water" examines the roots of this belief by studying the omnipresent discourse of bloodlines and kindred relations in the literature of early modern Europe, specifically its role in the creation and maintenance of oppressive social structures. Lauren Weindling examines how drama from England, France, and Italy tests these assumptions about blood and love, exposing their underlying political function. Among the key texts that Weindling studies are Shakespeare's Romeo and Juliet, Othello, and The Merchant of Venice, Pierre Corneille's Le Cid, Giambattista della Porta's La Sorella and its English analog, Thomas Middleton's No Wit/Help Like a Woman's, John Ford's 'Tis Pity She's a Whore, and Machiavelli's La Mandragola. Each of these plays in some way offers an extreme limit case for these beliefs in plots of love, courtship, and marriage (e.g., blood feuds or incest). They also illustrate that blood functions not as a biological basis for affinities, but discursively. Moreover, they feature the voices of marginalized groups, unprivileged by this ideology, which present significant counterpoints to this bloody worldview. Those outsiders reveal that finding alternative vocabularies to the bloody discourse of elite groups is both extremely difficult and often ineffectual, further evidenced by their persistence today. Much critical work on blood has examined this discourse as it manifests onstage: as evidence of guilt, the product of violence, or in bleeding figures. This book, instead, examines the work that blood does unseen in its connection to discourses of love and kinship-arbitrating social and emotional connections between persons, and thus underwriting our deepest forms of social organization"--
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