My mother was fond of traveling: she would go from Spain to England, from London to Paris, from Paris to Berlin, and from there to Christiania; then she would come back, embrace me, and set out again for Holland, her native country. She used to send my nurse clothing for herself and cakes for me. To one of my aunts she would write: “Look after little Sarah; I shall return in a month’s time.” A month later she would write to another of her sisters: “Go and see the child at her nurse’s; I shall be back in a couple of weeks." My mother’s age was nineteen; I was three years old, and my two aunts were seventeen and twenty years of age; another aunt was fifteen, and the eldest was twenty-eight, but the latter lived at Martinique, and was the mother of six children. My grandmother was blind, my grandfather dead, and my father had been in China for the last two years. I have no idea why he had gone there." (...)
My Double Life is the autobiography of the French actress Sarah Bernhardt, who was internationally famed during her lifetime and afterwards as one of the classical theater's all-time greatest stars. Bernhardt's memoirs are composed with a novelist's (or actress's) sense of artistry and suspense that leaves no doubt of the charisma for which she was famed in her "double life," both on- and off-stage. Yet at the same time as this book very consciously contributes to the crafting of her image, it also illuminates a whole era: not only the world of theater, but also the worlds of women, politics, society, Europe and America, and, indeed, of history making itself.
Francesca is a charming, clever story of a pampered basset hound who cares a lot about herself and her Annie, ...and that's it. Then, one night, she spies an odd creature outside her window and it causes her curious heart to battle her stubborn mind. Will Francesca step out of her very comfy comfort zone and learn the biggest lesson of her life?
Sci fi, with a troubled teenager, aliens and spaceships.What if they are up there, monitoring us, and the planet? What if the planet has grown, developed, become conscious in some way? What if just one person could hear that consciousness in pain? What if that one person had just crashed a stolen car after a night of drink and drugs?Sage is eighteen years old and, ever since she can remember, there's been a voice in her head. She'll tell you that she doesn't hear voices, they don't tell her to do anything. It's just a single voice, and it doesn't speak, it screams. She hears an unending scream as if the voice is someone in constant agonising pain.She's been told she's hallucinating. She's spent time in psychiatric care and on strong drugs that cut her off from her feelings, and she hates all of it.But she's not hallucinating, the voice is all too real and Sage has been watched for years in the hope that she's not the only one who can hear. When Sage puts her life in danger, and it's clear that she is unique, intervention is necessary.
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Perhaps best known for her outstanding translation of Sappho, poet Mary Barnard (1909–2001) has until recently received little attention for her own work. In this book, Sarah Barnsley examines Barnard's poetry and poetics in the light of her plentiful correspondence with Ezra Pound, William Carlos Williams, and others. Presenting Barnard as a "late Imagist," Barnsley links Barnard's search for a poetry grounded in native speech to efforts within American modernism for new forms in the American grain. Barnsley finds that where Pound and Williams began the campaign for a modern poetry liberated from the "heave" of the iambic pentameter, Barnard completed it through a "spare but musical" aesthetic derived from her studies of Greek metric and American speech rhythms, channeled through materials drawn direct from the American local. The first book on Barnard, and the first to draw on the Barnard archives at Yale's Beinecke Library, Mary Barnard, American Imagist unearths a fascinating and previously untold chapter of twentieth-century American poetry.
Since it was first published in 1999, How It All Vegan! has become a bible for vegan cooks, both diehard and newly converted; its basic introduction to the tenets of vegan living and eating, combined with Sarah and Tanya's winning charm, made it an essential cookbook for anyone considering eschewing animal products from their diet. It won VegNews' Veggie Award for Best Cookbook twice, has been reprinted fourteen times, and spawned several successful sequels (including The Garden of Vegan, La Dolce Vegan, and Vegan Go-Go!). In the ten years since How It All Vegan! was first published, however, veganism has ''come out of the closet,'' and is now considered a legitimate diet and lifestyle not only for those wishing to improve their health, but also those who care deeply about the welfare of animals. This tenth-anniversary edition includes new recipes, as well as updates and advice that better reflect the new vegan reality; it also includes a colour photo section and a new introduction by co-author Sarah Kramer, who speaks personally and passionately about the impact of veganism on her life over the past decade. With this tenth anniversary edition, Sarah and Tanya's fans can find out ''how it all vegan'' all over again!
Take away the liberal media bias and manipulating sound bites, and what you're left with is Sarah Palin Uncut, a collection of rallies, speeches, and calls to action. The powerful yet heartfelt words, in context, leave the reader with the purest impression of the nation's trailblazer and inspiration behind the emergence of the powerful and influential Tea Party movement, Sarah Palin.
Uncovers a new chapter in the story of American modernist poetry. Perhaps best known for her outstanding translation of Sappho, poet Mary Barnard (19092001) has until recently received little attention for her own work. In this book, Sarah Barnsley examines Barnards poetry and poetics in the light of her plentiful correspondence with Ezra Pound, William Carlos Williams, and others. Presenting Barnard as a late Imagist, Barnsley links Barnards search for a poetry grounded in native speech to efforts within American modernism for new forms in the American grain. Barnsley finds that where Pound and Williams began the campaign for a modern poetry liberated from the heave of the iambic pentameter, Barnard completed it through a spare but musical aesthetic derived from her studies of Greek metric and American speech rhythms, channeled through materials drawn direct from the American local. The first book on Barnard, and the first to draw on the Barnard archives at Yales Beinecke Library, Mary Barnard, American Imagist unearths a fascinating and previously untold chapter of twentieth-century American poetry. Clearly structured and elegantly written, Mary Barnard, American Imagist far exceeds any act of routine scholarly recovery. In addition to giving full recognition to Barnards superb skills as a translator of Sappho, Sarah Barnsley also makes a convincing case for her original poetic output and for her contribution to the evolution of American free verse. Peter Nicholls, author of Modernisms: A Literary Guide, Second Edition
At the end of The Portal Between, Lily returned alone; Kate's world was rocked again. Sam has problems of her own, the magic is out of control, and Lily can't help this time. Kate tries to pull her life back together but it's hard and she finds comfort where she can. But who else can wield the magic? Who challenges Sam's right to rule?
When Lilith's unborn child is threatened, there's only one place she can go. She flees her home to find her lost twin sister, the only person who might understand the choice that Lilith must make. The Heir, the story of the birth of Lilith's heir is set three decades before the events of The Portal Between
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