Amy Fletcher is a skilled Psychic, but her profession hasn't been easy, since she was raised by strict, religious parents who disapproved of her talents. But troubled spirits do not stay silent, and Amy's calling is one she follows with her whole heart. Responding to a frantic call from her closest friend, Amy travels across country to help solve a haunting at the Dandelion Care Home. She unwittingly finds herself being the victim of intrigue, a romance cloaked in deception, and attempted murder. After meeting the home's owner, Mrs. Dorothy "Cruella" Green, whose nickname was well-earned, Amy realizes that she has a hidden agenda putting everyone's lives at risk. Dorothy's desperation to sell her haunted home is thwarted with objects moving, music coming through the walls, and lonesome cries wailing at night. As Amy stubbornly pushes forward to put this ghost to rest, she gets unexpected help from the home's lone employee, the peculiar Jamaican caretaker, Tandi Davis. Only Tandi understands the house's past tragedies and is there to protect those who are dead and alive. Skillfully maneuvering through the spirit world, Amy slowly unravels a mystifying murder which helps her solve the mysteries surrounding the haunted home.
Less celebrated than their male counterparts, women have been vital contributors to the arts. Works by women of the colonial era represent treasured accomplishments of American culture and still impress us today, centuries after their creation. The breadth of creative expression is as impressive as the women themselves. In American Colonial Women and Their Art: A Chronological Encyclopedia, Mary Ellen Snodgrass follows the history of creative expression from the early 1600s to the late 1700s. Drawing upon primary sources—such as letters, diaries, travel notes, and journals—this timeline encompasses a wide variety of artistic accomplishment, such as: Stitchery, quilting, and rug hooking Painting, sculpture, and sketches Essays, poems, and other writings Dance, acting, and oratory Musical composition and performance Individual talents highlighted in this volume include miniature portraits by Mary Roberts, pastel likenesses by Henrietta Dering Johnston, stagecraft by Elizabeth Sampson Sullivan Ashbridge, basketry by Namumpum Weetamoo, dance by Mary Stagg, metalwork by blacksmith Elizabeth Hager Pratt, calligraphy by Anna “Anastasia” Thomas Wüster, city planning by Deborah Dunch Moody, poems and essays by Phillis Wheatley, and fabric design by Anne Pogue McGinty. Featuring appendices that list individuals by skill and by state—as well as a glossary that clarifies the parameters of genres—this volume is essential to the study of Colonial women’s art. Resurrecting the efforts of women to record, adorn, and illustrate the spirit of their times, American Colonial Women and Their Art is a valuable resource that will be of interest to students and scholars of gender and women’s studies, art history, and American history.
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