A collection of rhyming couplets, these wry and witty poems ponder the foibles and vanities of mortals. Cartoon pen-and-ink drawings by well-known illustrator Barrington Barber accompany the limerick-like lyrics, which capture the ridiculous—such as absurdly trimmed mustaches and outrageous hairstyles—with humorous rhymes and amusing titles. Perfect for any lover of light verse, these observations are both keen and catchy.
A collection of rhyming couplets, these wry and witty poems ponder the foibles and vanities of mortals. Cartoon pen-and-ink drawings by well-known illustrator Barrington Barber accompany the limerick-like lyrics, which capture the ridiculous—such as absurdly trimmed mustaches and outrageous hairstyles—with humorous rhymes and amusing titles. Perfect for any lover of light verse, these observations are both keen and catchy.
Bodies abound in Rimbaud's poetry in a way that is nearly unprecedented in the nineteenth-century poetic canon: lazy, creative, rule-breaking bodies, queer bodies, marginalized and impoverished bodies, revolting and revolutionary, historical bodies. The question that Poetry, Politics, and the Body seeks to answer is: What does this corporeal density mean for reading Rimbaud? What kind of sense are we to make of this omnipresence of the body in the Rimbaldian corpus, from first to last–from the earliest poems in verse celebrating the sheer, simple delight of running away from wherever one is and stretching one's legs out under a table, to the ultimate flight away from poetry itself? In response, this book argues that the body appears–often literally–as a kind of gap, breach, or aperture through which Rimbaud's poems enter into contact with history and a larger body of other texts. Simply put, the body is privileged 'lyrical material' for Rimbaud: a figure for human beings in their exposed, finite creatureliness and in their unpredictable agency and interconnectedness. Its presence in the early work allows us not only to contemplate what a strange, sensuous thing it is to be embodied, to be both singular and part of a collective, it also allows the poet to diagnose, and the reader to perceive, a set of seemingly intractable, 'real' socio-economic, political, and symbolic problems. Rimbaud's bodies are, in other words, utopian bodies: sites where the historical and the lyrical, the ideal and the material, do not so much cancel each other out as become caught up in one another.
Part of the Indiana Historical Society's commemoration of the nineteenth state's bicentennial, Indiana's 200: The People Who Shaped the Hoosier State recognizes the people who made enduring contributions to Indiana in its 200-year history. Written by historians, scholars, biographers, and independent researchers, the biographical essays in this book will enhance the public's knowledge and appreciation of those who made a difference in the lives of Hoosiers, the country, and even the world. Subjects profiled in the book include individuals from all fields of endeavor: law, politics, art, music, entertainment, literature, sports, education, business/industry, religion, science/invention/technology, as well as "the notorious.
From her writing and recipe style, Lady Harriet was clearly a sophisticated woman of means who deplored the “unpalatable horrible attempts at entrees, dignified with some high-sounding French name, made by the general run of English cooks.” Her recipes for soups, sauces, fish, meat, poultry, vegetables and salads, eggs and cheese, pudding, jellies, pastries, bread, biscuits, cakes, liqueurs, pickling, coffee, and dairy making were clearly designed to replace the “sodden pieces of meat, soaking in a mess of flour and butter . . . which forms the English cook’s universal idea of a sauce, and which they liberally and indiscriminately bestow on fish, flesh and fowl.” Refined and sophisticated, her cuisine was clearly targeted for those who appreciated and could afford good living. The last ten pages of the book contain a listing of other books published by Edmonston & Douglas of Edinburgh, so it is likely that the Philadelphia publisher J.B. Lippincott and Co. simply reprinted the original Engish edition in its entirety. This edition of Dainty Dishes was reproduced by permission from the volume in the collection of the American Antiquarian Society, Worcester, Massachusetts. Founded in 1812 by Isaiah Thomas, a Revolutionary War patriot and successful printer and publisher, the Society is a research library documenting the life of Americans from the colonial era through 1876. The Society collects, preserves, and makes available as complete a record as possible of the printed materials from the early American experience. The cookbook collection includes approximately 1,100 volumes.
A witty, sexy and suspenseful story about a stolen necklace, a doomed hotel, and two people determined to get their hands on the jewels–at any cost. Selina Migliore is smart and streetwise–with an ill sister and an elderly grandmother relying on her, she has to be. When fate hands her a chance to change her life, she's determined to seize it. All she has to do is retrieve a long–lost sapphire necklace before the Empire Hotel is blown to smithereens. Nothing's going to get in her way... ...except Jack Tierney, PI, who's also on the hunt for the stolen jewellery. Jack is amused by his clashes with the pushy brunette, but as he continues to bump into Selina at strange times and in odd places, he starts to question who she is and what she's doing at the Empire. The pressure cooker really heats up when a new player enters the scene and it becomes apparent that Jack's not the only one keeping an eye on Selina...
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