Their love was above the law. When Brett Meyer returned to his father's New Mexico ranch, he received a hero's welcome, from everyone except Annie Clayton. The law-enforcement officer was recuperating from gunshot wounds, and he had plenty of time on his hands, time to visit Annie's apple farm a little more often than she thought necessary. Annie enjoyed his attentions; he was a handsome, desirable man. But Annie had something to hide, something that could put her on the other side of the law. It was inevitable that Brett would discover her secret, and come to her one day as a lawman instead of her lover.
When Brit Bailey learns that her great-grandmother's autobiography has been bought for a big-budget movie, she rejoices, knowing she finally has enough money to live the high life. But fate intervenes when her chartered helicopter crashes on the way to Hollywood and she is rescued by archaeology professor Jake Landry, a man whose priorities are vastly different from Brit's.
This delightful book is filled with the distinctive regional recipes, family stories and dichos (sayings) that Callego Thorpe grew up with. It contains recipes for the herbal remedios her grandmother used for healing, as well as more widely known foods such as tamales, enchiladas, and posole. It is a fascinating record of a way of life and a way of cooking that can enrich the historical and cultural awareness of all Americans.Sopa de ViejoOld Man's Soup6 flour tortillas, cut into 1 inch pieces1 large onion, diced2 cloves garlic, minced1/2 cup fresh roasted green chiles, cut into strips1 cup Monterrey Jack cheese1/2 qt. chicken broth1/2 qt. milk1 Tbsp. oilsalt to tasteHeat oil in a 2-quart pan. Add tortilla pieces and brown lightly, about 4 minutes. Add onion and garlic; cook 3 more minutes. Then add the chicken broth and milk, and cook over medium heat for 30 minutes. Add green chiles and cheese. Cook 3 more minutes. Serves 4 to 6. This was one of Abuelito's favorite soups.Abuelito was a great storyteller, and he especially loved keeping us up with ghost stories on hot summer nights, when we kids were sleeping outside on cots. He told us about La Llorona (The Crying One), a woman whose children died in a fire when she left them alone to go to a party, and the story called "Dancing with the Devil at Elysean Groves," about a girl who disobeyed her parents and went dancing, only to discover that her partner was the devil. There are a variety of versions of these stories. Abuelito kept us in anticipation for days, as he told little bits of Aladino y la Lamparita Maravillosa (Aladdin and the Magic Lamp) each night until it was finished.After I graduated from high school, my cousin Elaine, a friend, and I went to California to make our fortunes. We returned home after three months, flat broke, and willing to seek our fortunes in Tucson, instead. On the night of our return, Elaine and I decided to go to a local dance to catch up on everything we'd missed that summer. When we got home that night, Abuelito unlocked the door for us, and then hid around the corner with a sheet over his head to scare us, like he had done when we were kids. Later that night, he passed away, leaving us with sweet memories of the loving, tender man that he was.ReviewBOOKLIST, JULY 1999Other authors have documented the foods of America's Southwest, but none have so lovingly drawn the intimate connections between this kind of cooking and the society from which it springs. Thorpe and Engels have organized their recipes by seasons to show how the people, the land, and the food come together to bring life to the area's inhabitants. Their cuisine is a simple one, lacking the sophistication of cooking south of the border. For example, their mole sauce for chicken calls for just peanuts and chili powder instead of the long inventory of nuts, seeds, and chiles required in Oaxaca. Many of the recipes include a note on herbal medicine; others have short reflections on the recipe's significance in the family; still others conclude with an apothegm of local folk wisdom.--Mark Knoblauch
The Great Gatsby and its criticism of American society during the 1920s, F. Scott Fitzgerald claimed the distinction of writing what many consider to be the "great American novel." Critical Companion to F.
In this book, Mary Jean Corbett explores fictional and non-fictional representations of Ireland's relationship with England throughout the nineteenth century. Through postcolonial and feminist theory, she considers how cross-cultural contact is negotiated through tropes of marriage and family, and demonstrates how familial rhetoric sometimes works to sustain, sometimes to contest the structures of colonial inequality. Analyzing novels by Edgeworth, Owenson, Gaskell, Kingsley, and Trollope, as well as writings by Burke, Carlyle, Engels, Arnold, and Mill, Corbett argues that the colonizing imperative for 'reforming' the Irish in an age of imperial expansion constitutes a largely unrecognized but crucial element in the rhetorical project of English nation-formation. By situating her readings within the varying historical and rhetorical contexts that shape them, she revises the critical orthodoxies surrounding colonial discourse that currently prevail in Irish and English studies, and offers a fresh perspective on important aspects of Victorian culture.
When Brit Bailey learns that her great-grandmother's autobiography has been bought for a big-budget movie, she rejoices, knowing she finally has enough money to live the high life. But fate intervenes when her chartered helicopter crashes on the way to Hollywood and she is rescued by archaeology professor Jake Landry, a man whose priorities are vastly different from Brit's.
This book celebrates and seeks to understand the overlooked appearances of hybrid forms in visual culture; artefacts and practices that meld or interweave incongruous elements in innovative ways. And with an emphasis on the material aspects of such entities, the book adopts the term 'mixed form' for them. Focusing on key phenomena in the last half millennium such as the cabinet of curiosities, the broadside ballad and the chapbook as early forms of image-text, the scrapbook, assemblage, and, in digital times, so-called 'mixed reality,' the book argues that while the quality of inconsistency is traditionally dismissed, its expression nevertheless plays a vital role in social life. Crucially, Mixed Forms of Visual Culture relates its phenomena to the emergence of the division of labour under capitalism and addresses the shifting relationships between art and life, when singularity and uniformity are variously valued and dismissed in the two arenas, and at different points in history. Two of the book's chapters take the form of visual essays, with one comprising an anthology of found scrapbook pages and the other offering an analysis of artists' scrapbooks. The book is richly illustrated throughout.
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