Recent college grad Aaron Elliott is a pro when it comes to avoiding conflict. So when he hears his mother and stepfather plan to sell the family's rambling summer retreat, it takes everything in him to object. The lake house is where he feels closest to his late father. It's where he fell in love with his best friend…and it's where he let family pressure decide his future rather than following his heart. A combat injury has sailor James "Freddie" Fredrick dry-docked, possibly for good. But the pain in his shoulder is nothing like the hurt he feels when he sees Aaron back in town. It's been four years since the love of his life left without a word—and though Freddie would give anything to deny it, the heat between them hasn't faded. Once upon a time, Aaron let Freddie go without a fight. He won't screw up their second chance to have a happy ending. But unless he makes peace with the past, Freddie won't be able to face their future. Book three of Letting Go This book is approximately 67,000 words
This book is a message meant to give as much encouragement to all who are in the midst of trials and challenges. This book will show you what the Lord can do if we only believe and put our trust in Him. If we practice these things, we will welcome His rescue. Life will always be full of joy and challenges and disappointments. If you look to our Lord, you will see what He will do, no matter the circumstances, to bring you to a better place with a better understanding of His power. Lean on Him; His yoke is easy.
Eduard Strauss I (1835–1916), the youngest of the three Strauss brothers – and hence the 'third man' of the family, has always been overshadowed by his siblings Johann II and Josef. However, he was the longest lived and most widely travelled of the three and, as sole conductor and manager of the Strauss Orchestra for thirty years, brought authentic performances of his family's music to audiences in hundreds of towns and cities in Europe and North America. At home in Vienna he made an invaluable contribution to the city's musical and cultural life, while having at the same time to cope with continual tensions and problems within the Strauss family.
Sentimental American texts of the nineteenth century frequently featured representations of illness and death that either emphasized or de-emphasized the body. The death-bed trope, in particular, is widely recognizable, to the point that it eventually becomes an object of parody. In order to examine the subject of sentimental illness, this project explores three popular women's texts of the period---Catharine Maria Sedgwick's The Poor Rich Man, and the Rich Poor Man; Harriet Beecher Stowe's Uncle Tom's Cabin; and Harriet Jacobs's Incidents in the Life of a Slave Girl---and the diverse manners in which they represent the imperiled female body. These texts, representing a long historical trajectory, demonstrate a complex relationship between sentimental tropes and the body, as well as between women writers of the antebellum period and the sentimental forms they utilized.
Old photographs offer subjective and evocative evidence of the way we lived and worked in years past. Images of America: Mocksville shares the photographic story of the development of the town of Mocksville and its people to the mid-1900s. Named the seat of newly created Davie County in 1839, the town of Mocksville, originally known as Mocks Old Field, existed as early as the Revolutionary War. Photographs support documentary evidence of various trades as well as agricultural pursuits. Not all buildings or homes survive a town's growth, and Mocksville provides evidence of the passing parade of homes that did not survive. History comes alive as we rediscover and share old photographs and contemplate what they divulge of past times and lives.
Herman Melville, author of Moby Dick, never thought of himself as a writer. He was an adventurer, learning how to write by learning how to live. Author Leigh Clark takes the same approach. Although she does have some formal training in the art, she feels writing is more than putting words on the page; it is instead a search for knowledge that enhances the way we live and look at the world around us. In This and That, Clarke takes everyday observations and makes them beautiful through the telling of eloquent short stories. She reinvents the famous first line of Melvilles masterwork with the line Call me Moby Dick in Another Point of View. She explores the painful process of job hunting in The Interview. And take a stop by the peaceful sea in Clarkes visual feast, The Beach. Stories are created to inspire us and teach us about our world and ourselves. Discover enlightenment in the everyday. Melville found his inspiration on a whaling boat. Clarke found hers through the twists and turns of an artists life. Where will you meet your muse?
The #MeToo movement inspired millions to testify to the widespread experience of sexual violence. More broadly, it shifted the deeply ingrained response to women’s accounts of sexual violence from doubting all of them to believing some of them. What changed? Leigh Gilmore provides a new account of #MeToo that reveals how storytelling by survivors propelled the call for sexual justice beyond courts and high-profile cases. At a time when the cultural conversation was fixated on appeals to legal and bureaucratic systems, narrative activism—storytelling in the service of social change—elevated survivors as authorities. Their testimony fused credibility and accountability into the #MeToo effect: uniting millions of separate accounts into an existential demand for sexual justice and the right to be heard. Gilmore reframes #MeToo as a breakthrough moment within a longer history of feminist thought and activism. She analyzes the centrality of autobiographical storytelling in intersectional and antirape activism and traces how literary representations of sexual violence dating from antiquity intertwine with cultural notions of doubt, obligation, and agency. By focusing on the intersectional prehistory of #MeToo, Gilmore sheds light on how survivors have used narrative to frame sexual violence as an urgent problem requiring structural solutions in diverse global contexts. Considering the roles of literature and literary criticism in movements for social change, The #MeToo Effect demonstrates how “reading like a survivor” provides resources for activism.
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