He was the shock-jock extraordinaire, in syndication in every major market in the country, but it had been quite the fall. Blackballed and forgotten, he was doomed to doing the graveyard shift on godforsaken AM at a 5,000-watt piss-ant station in Andersonville, Indiana, where the highest rated program was the tornado report. At night and under the right conditions, however, the mega-signal of the Midwest can be heard for a thousand miles, and in the wee hours the depressed and the depraved gather on the broadcast doorstep of Gulliver McKnight to confide in his wisdom. Some call it a cult following; others call it a radio freak parade. At 3:16 a.m. on November 8th, Gulliver takes the tenth call, but the caller isn’t interested in the chicken dinner Gulliver is giving away. He’s into murder, and the killing goes back decades. It’s Julie Hernandez’s job (Julie’s a he, not a she) and Sam Olsen’s job (Sam’s a she, not a he) to stop this serial killer who’s found that calling in to Gulliver’s show is an interesting new way to get his jollies. The questions are: who is he, and how is he always the tenth call?
It’s Saturday, Sept. 25th, and an entire town has no memory of what happened to Friday. In the future, time travel becomes the ultimate weapon, enabling those who control it to manipulate history. Reporter Johnny Pappas fights futuristic terrorists who’ve come back to kidnap high school quarterback David Robelle before he becomes the physicist who proves the phenomenon of time travel is possible. Time travel, human clones called Synthetics, editions of newspapers that haven’t even been written yet, it’s all part of Lost Friday. Johnny has three objectives: cover the story as a reporter, win the romantic attention of fellow reporter Kelli Remington, and rescue David Robelle from the terrorists. Oh yeah, he’d also like to win a Pulitzer.
Y.I.T.B.: It means Yours In The Bonds. It was how they signed their letters and their emails to each other. They were The Brothers of Zeta Chi, and they vowed decades earlier that their pledge meant more than having drinking buddies for life. It was their thirtieth reunion at John Adams College and they’d come in from all over to attend. Harry was there, but his old roommate Hutch never made it, but he had a good reason. Hutch was dead, found locked in his car. Was it suicide, or an accident, or due to natural causes? None of the explanations were satisfactory, and when the authorities refused to investigate due to lack of evidence indicating foul play, the brothers said, “If you won’t investigate, we will.” Who knew it would lead Harry and The Brothers into a showdown involving international terrorists, the police, the CIA, and the Financial Crimes and Enforcement Network inside the U.S. Treasury called FinCEN.
It’s 1979, Jimmy Carter is president, and Tom “Crash” Crandall is floor manager at Rosenbloom & Starr where the wives of D.C.’s power brokers shop. There’s something terribly wrong with the way the goods are flowing—or to put it a better way, not flowing—into his department. What the heck were those buyers doing up on the seventh floor? Crash has no idea that the problem he’s observing is an offshoot of a heinous hostile takeover attempt, and CEO Gino Starr is not about to let the ruthless raiders take over the department store empire he built from humble beginnings. The takeover villains stop at nothing to accomplish the takeover, including brutal attacks and grisly murders. What Starr doesn’t know is that the takeover attempt is being backed by an international crime syndicate that has infiltrated our own government.
Dead presidents play a supernatural game of Risk, the board game of world domination, and their moves are reflected in the real world. A president makes a move, an invasion takes place on Earth. Follow the exploits of real life hero Pauli Campo as he navigates the presidents’ influence, rising from meager upbringings to lead his country against a maniacal dictator to prevent the death of millions.
1969 has been called the most eventful year in our history, and it’s against the backdrop of Vietnam and anti-establishment culture that Brownie wrote his own history that year: he smoked his first joint, and got laid, both of those momentous events taking place in the sun and the mud at Woodstock. He also attended Alliance College, and while there was no war there, people died, victims of an evil crime network fronted by a fraternity house cook name Dandy Don. Brownie and his best friend become inextricably tangled in a web of crime, bribery, depravity, and degradation. From professors to ballplayers to strippers, Dandy Don ruins the lives of everyone he touches. Porchball is a story of loyalty, betrayal, and deception. Ultimately, it’s the code by which the game of Porchball is played that rises above all other of life’s principles. When a fraternity brother explains that no one cheats at the game, Brownie doesn’t understand. It’s simple. “Everyone is taken at their word,” says the brother. “Everyone does the right thing.”
In this play, young Branwell Bronte, who once ruled an imaginary world, is now a man, grown mad trying to cope with the real one. Having failed as a poet and painter, as doomed in love as he is in literature, he slips ever more quickly down the road of drink, drugs and despair. His loving father Patrick and talented sister Charlotte fight a last-ditch stand for his salvation, but it is Branwell's sinister friend, gravedigger John Brown, who threatens to have the last word in this ultimately terrifying take on the brilliant family we have read so much about and all thought we knew so well.
October, 1986. Harry Hosea Brontë, one of the most notorious serial killers in United States History awaits his end at Arizona State Prison. On the night of his execution, he is presented with the opportunity to give one final interview on live television to try and make sense of how a gentle Arizona boy came to be a broken man on Death Row.
Anne Bront--euml--;'s second novel seemed to many contemporary readers shockingly unlike her first Agnes Grey, published in the previous year. There, Charlotte Bront--euml--; had admired her sister's `quiet description and simple pathos', but she was disturbed by The Tenant of Wildfell Hall, which reminded reviewers of Wuthering Heights: it was, in spite of its `excellent moral', `coarse, not to say brutal'. For Anne's heroine, Helen Huntingdon, having endured too many of the `revolting scenes' deplored by reviewers, leaves her dissolute husband in order to earn her own living and rescue her son from his influence. A passionate and courageous challenge to the conventions supposedly upheld by Victorian society and reflected in circulating-library fiction, The Tenant of Wildfell Hall is compelling in its imaginative power, in the bold naturalism of its central scenes, the realism and range of its dialogue, and in its psychological insight into the characters involved in the marital battle. The present text is based on the first edition of July 1848, incorporating authorial corrections from the second edition. - ;Anne Bront--euml--;'s second novel seemed to many contemporary readers shockingly unlike her first Agnes Grey, published in the previous year. There, Charlotte Bront--euml--; had admired her sister's `quiet description and simple pathos', but she was disturbed by The Tenant of Wildfell Hall, which reminded reviewers of Wuthering Heights: it was, in spite of its `excellent moral', `coarse, not to say brutal'. For Anne's heroine, Helen Huntingdon, having endured too many of the `revolting scenes' deplored by reviewers, leaves her dissolute husband in order to earn her own living and rescue her son from his influence. A passionate and courageous challenge to the conventions supposedly upheld by Victorian society and reflected in circulating-library fiction, The Tenant of Wildfell Hall is compelling in its imaginative power, in the bold naturalism of its central scenes, the realism and range of its dialogue, and in its psychological insight into the characters involved in the marital battle. The present text is based on the first edition of July 1848, incorporating authorial corrections from the second edition. -
In this play, young Branwell Bronte, who once ruled an imaginary world, is now a man, grown mad trying to cope with the real one. Having failed as a poet and painter, as doomed in love as he is in literature, he slips ever more quickly down the road of drink, drugs and despair. His loving father Patrick and talented sister Charlotte fight a last-ditch stand for his salvation, but it is Branwell's sinister friend, gravedigger John Brown, who threatens to have the last word in this ultimately terrifying take on the brilliant family we have read so much about and all thought we knew so well. In 2013, The Bronte Society sponsored a new production of The Bronte Boy for performance at the Society's International AGM weekend.
Essay from the year 2015 in the subject Didactics for the subject English - Literature, Works, grade: 2:1, Falmouth University, course: English with Creative Writing, language: English, abstract: While Realism is concerned primarily with representing the world objectively and truthfully, I will examine how Armadale by Wilkie Collins and Jane Eyre by Charlotte Brontë, use and develop the genre further by establishing representation as subjective to the perspective of the writer, and therefore dependent upon his inner reality. I will firstly clarify Realism as a genre limited to representation, and how this in turn is fuelled by the characters’ illusory self-consciousness. Focusing on Miss Gwilt and her interpretation of the dreams and shadows, this essay will argue towards her identity crisis and her fall in power. Similarly, by analysing Jane Eyre’s and Mr. Rochester’s relationship, this essay will discuss the ways in which each character is continually striving to dive into the depths of the other’s eyes, while simultaneously keeping their own inner-self hidden from the outsider’s gaze. When concealment fails, and the inner is open to manipulation, the narrative is placed away from them, and their power over their own destiny is reflective of the power we give away to the subjectivity of the perceived world.
In this play, young Branwell Bronte, who once ruled an imaginary world, is now a man, grown mad trying to cope with the real one. Having failed as a poet and painter, as doomed in love as he is in literature, he slips ever more quickly down the road of drink, drugs and despair. His loving father Patrick and talented sister Charlotte fight a last-ditch stand for his salvation, but it is Branwell's sinister friend, gravedigger John Brown, who threatens to have the last word in this ultimately terrifying take on the brilliant family we have read so much about and all thought we knew so well.
Exam Board: AQA, OCR, Edexcel, WJEC Eduqas Level: GCSE (9-1) Subject: English literature First teaching: September 2015 First exams: Summer 2017 Enable students to achieve their best grade in GCSE English Literature with this year-round course companion; designed to instil in-depth textual understanding as students read, analyse and revise Jane Eyre throughout the course. This Study and Revise guide: - Increases students' knowledge of Jane Eyre as they progress through the detailed commentary and contextual information written by experienced teachers and examiners - Develops understanding of plot, characterisation, themes and language, equipping students with a rich bank of textual examples to enhance their exam responses - Builds critical and analytical skills through challenging, thought-provoking questions that encourage students to form their own personal responses to the text - Helps students maximise their exam potential using clear explanations of the Assessment Objectives, annotated sample student answers and tips for reaching the next grade - Improves students' extended writing techniques through targeted advice on planning and structuring a successful essay - Provides opportunities for students to review their learning and identify their revision needs with knowledge-based questions at the end of each chapter
The Bible and theology are contested spaces, battlegrounds where participants guard entrenched beliefs against perceived threats. But literature, observes novelist Salman Rushdie, opens the universe. It expands what we perceive and understand, and ultimately what we are. Writers make our world feel larger and more inclusive. When other forces push in the direction of narrowness, bigotry, tribalism, cultism, and war, fiction encourages understanding, sympathy, and identification with others. Reading the Margins invites readers to immerse themselves in imaginary worlds, and to pursue visions of justice and compassion. Whether stories about poverty, empire, war, or the environment, the writers considered raise moral questions and often, in the process--even unwittingly--deepen our understanding of biblical calls for kindness and mercy. Reading the Margins offers a kind of commentary on biblical ethics. Using Matthew's Beatitudes and sheep and goats parable as an organizing principle, Gilmour argues there is much to learn about Jesus's ""peacemakers"" and call to feed the hungry from aspirational fiction and poetry.
Professor Wheeler's widely-acclaimed survey of the nineteenth-century fiction covers both the major writers and their works and encompasses the genres and "minor" fiction of the period. This excellent introduction and reference source has been revised for this second edition to include new material on lesser-known writers and a comprehensively updated bibliography.
Exam Board: AQA, OCR, Edexcel, WJEC Eduqas Level: GCSE (9-1) Subject: English literature First teaching: September 2015 First exams: Summer 2017 Enable students to achieve their best grade in GCSE English Literature with this year-round course companion; designed to instil in-depth textual understanding as students read, analyse and revise Jane Eyre throughout the course. This Study and Revise guide: - Increases students' knowledge of Jane Eyre as they progress through the detailed commentary and contextual information written by experienced teachers and examiners - Develops understanding of plot, characterisation, themes and language, equipping students with a rich bank of textual examples to enhance their exam responses - Builds critical and analytical skills through challenging, thought-provoking questions that encourage students to form their own personal responses to the text - Helps students maximise their exam potential using clear explanations of the Assessment Objectives, annotated sample student answers and tips for reaching the next grade - Improves students' extended writing techniques through targeted advice on planning and structuring a successful essay - Provides opportunities for students to review their learning and identify their revision needs with knowledge-based questions at the end of each chapter
For much of her own century, Elizabeth Gaskell was recognized as a voice of Victorian convention—-the loyal wife, good mother, and respected writer—-a reputation that led to her steady decline in the view of twentieth-century literary critics. Recent scholars, however, have begun to recognize that Mrs. Gaskell's high standing in Victorian society allowed her to effect change in conventional ideology. Linda K. Hughes and Michael Lund focus this reevaluation on issues pertaining to the Victorian literary marketplace. Victorian Publishing and Mrs. Gaskell's Work portrays an elusive and self-aware writer whose refusal to grant authority to a single perspective even while she recirculated the fundamental assumptions and debates of her era enabled her simultaneously to fulfill and deflect the expectations of the literary marketplace. While she wrote for money, producing periodical fiction, major novels, and nonfiction, Mrs. Gaskell was able to maintain a tone of warmth and empathy that allowed her to imagine multiple social and epistemological alternatives. Writing from within the established rubrics of gender, narrative, and publication format, she nevertheless performed important cultural work.
Curiosity about the human mind—what it is and how it functions—began long before modern psychology. But because the mind and its processes are so elusive, they could be described only by means of metaphor. Michael Kearns, in this prize-winning study, examines the development of metaphors of the mind in psychological writings from Hobbes through William James and in fiction from Defoe through Henry James. Throughout the eighteenth century and even into the early nineteenth, metaphors of the mind as a relatively simple entity, either mechanical or biological, dominated both those engaged in psychological theorizing and novelists ranging from Richardson and Smollett through Dickens and the Brontes. In the nineteenth century, such psychologists as Herbert Spencer and Alexander Bain conceived of the mind as a complex organism quite different from that embodied in earlier thinking, but their figurative language did not keep pace. The result was a tension between theoretical expression and actual discussion of mental phenomena
This comprehensive text traces the development of one of the world's richest literatures from the Old English period through to the present day, discussing a wide range of key authors without losing its clarity or verve. Building on the book's established reputation and success, the third edition has been revised and updated throughout. It now provides a full final chapter on the contemporary scene, with more on genres and the impact of globalization. This accessible book remains the essential companion for students of English literature and literary history, or for anyone wishing to follow the unfolding of writing in England from its beginnings. It is ideal for those who know a few landmark texts, but little of the literary landscape that surrounds them; those who want to know what English literature consists of; and those who simply want to read its fascinating story. New to this Edition: - Fully revised throughout - A full final chapter on contemporary writing, with closer attention paid to the growing diversity of literatures in English in the British Isles
The Bible teems with nonhuman life, from its opening pages with God's creation of animals on the same day and out of the same earth as humans to its closing apocalyptic scenes of horses riding out of the sky. Animals are Adam's companions, Noah's shipmates, and Elijah's saviors. They are at the center of ancient Israel's religious life as sacrifices and yet, as Job discovers, beyond human dominion. It is an animal that saves Balaam from certain death by an angel's hand, and an animal that carries Jesus into Jerusalem. The Creator declares all of them good at the beginning, and since the Apostle Paul writes of God's eternal purposes for all things on earth, they are somehow part of a hoped-for eschatological restoration. So why are animals so often ignored in Christian moral discourse? In its theological thinking and faith-motivated praxis, human-centeredness typically results in the complete erasure of the nonhuman. This book argues that this exclusion of animals is problematic for those who see the Bible as authoritative for the religious life. Instead, biblical literature bears witness to a more inclusive understanding of moral duty and faith-motivated largesse that extends also to Eden's other residents.
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