CoCo Higgins lives in the shadow of her famous artistic father, who has made his name painting nude paintings of her mother. The same mother that walked out of her life when she was only nine years old. Together with her sister, and a baby brother who is obviously not her father’s child, they live with this man, who can only truly communicate on canvas. Ten years later CoCo gets a scholarship to the prestigious Art Academy in London. There she finds herself following in her father’s footsteps; the same college, the same boarding house with the same landlady. CoCo throws herself into new experiences; the bohemian world of ‘70’s London where love, sex, drugs and a wild evening in the Bunny Club are all part of CoCo’s liberated exciting life. Until that fateful Monday morning when a new life drawing model turns up in college. She would recognise that body anywhere, she saw it often enough in her father’s paintings. CoCo comes face to face with the woman she hasn’t seen since she was nine years old.
Tricia Jenkins and Tom Secker deliver a highly original exploration of how the government-entertainment complex has influenced the world’s most popular movie genre—superhero films. Superheroes, Movies, and the State sets a new standard for exploring the government-Hollywood relationship as it persuasively documents the critical role different government agencies have played in shaping characters, stories, and even the ideas behind the hottest entertainment products. Jenkins and Secker cover a wide range of US government and quasi-governmental agencies who act to influence the content of superhero movies, including the Department of Defense, the National Academy of Sciences’ Science and Entertainment Exchange and, to a lesser extent, the FBI and the CIA. Superheroes, Movies, and the State deploys a thematic framework to analyze how five of the key themes of our time—militarism, political radicalism and subversion, the exploration of space, the role of science and technology, and representation and identity—manifest in the superhero genre, and the role of the government in molding narratives around these topics. The book includes interviews with both producers and influencer insiders and covers a wide range of superhero products, from 1970s TV shows up to the most recent movie and TV releases, including the first major analysis of the hit Amazon show The Boys. In addition, it is the first deep exploration of NASA’s Hollywood office and the first detailed account of the role of the Science and Entertainment Exchange, which has worked on thousands of products since its creation in 2008 but is little known outside of the industry. Superheroes, Movies, and the State offers an innovative blend of research methods and interpretive frameworks, combining both production histories and deep readings of superhero texts to clearly reveal how the government-entertainment complex works in the world of blockbuster cinema to shape public perceptions of the United States, war, science, and much, much more.
The Political Poetess challenges familiar accounts of the figure of the nineteenth-century Poetess, offering new readings of Poetess performance and criticism. In performing the Poetry of Woman, the mythic Poetess has long staked her claims as a creature of "separate spheres"—one exempt from emerging readings of nineteenth-century women's political poetics. Turning such assumptions on their heads, Tricia Lootens models a nineteenth-century domestic or private sphere whose imaginary, apolitical heart is also the heart of nation and empire, and, as revisionist histories increasingly attest, is traumatized and haunted by histories of slavery. Setting aside late Victorian attempts to forget the unfulfilled, sentimental promises of early antislavery victories, The Political Poetess restores Poetess performances like Julia Ward Howe’s “Battle Hymn of the Republic” and Emma Lazarus’s “The New Colossus” to view—and with them, the vitality of the Black Poetess within African-American public life. Crossing boundaries of nation, period, and discipline to “connect the dots” of Poetess performance, Lootens demonstrates how new histories and ways of reading position poetic texts by Felicia Dorothea Hemans, Elizabeth Barrett Browning, Dinah Mulock Craik, George Eliot, and Frances E. W. Harper as convergence points for larger engagements ranging from Germaine de Staël to G.W.F. Hegel, Virginia Woolf, Elizabeth Bishop, Alice Walker, and beyond.
Something deadly waits beneath the waves off Winter Harbour, and this summer, no one's safe. Seventeen-year-old Vanessa Sands is afraid of the dark. And heights. And the ocean. And pretty much everything else. Fortunately, Vanessa's fearless older sister, Justine, has always been there to comfort her. That is until Justine jumps off a cliff near their family's holiday home in Winter Harbour, her lifeless body washing ashore the next day. Everyone assumes that the tragedy is an accidental result of Justine's adventurous ways. Everyone, that is, except Vanessa. Vanessa returns to Winter Harbour alone, looking for answers from Caleb Carmichael, Justine's summer love who was with her when she jumped. But when Vanessa learns that Caleb has been missing since Justine's death, she joins forces with Caleb's older brother, Simon, to try to find him. Soon, it's not just Vanessa who is afraid. Panic sweeps through Winter Harbour as more bodies wash ashore, all male, each victim found grinning from ear to ear. And as the death toll mounts, Vanessa realises that to save Caleb and solve the mystery of her sister's death, she has to confront a secret she's kept for years - one that could end her summer romance with Simon and even life as she knows it. An utterly gripping paranormal romance for Twilight fans sick of copy-cat vampire novels but in love with paranormal romance.
One day you’re a typical student. You’re working part-time at McDonald’s to pay for your clothes and car. The next day, you’re a mother-to-be. You’re confused and scared. Emotional and standoffish. You feel like a kid, but now with a huge responsibility.How could your life change so fast? Your youth wasn’t supposed to be packed with worries and obligations, Lamaze classes and daycare choices—and you’ve still got work and school to deal with. Whatever happened to fun, friendships, and dating? You’d do anything for your baby—but what about you? What about your needs?Sharing stories from her own experience as a teenage mom and from other young mothers, Tricia Goyer shows you what to do about meeting nine basic needs that all young moms have. Needs such as the need to be appreciated, the need to know your life is not at a dead end, and the need to be loved. In Life Interrupted, you’ll meet lots of young moms just like you. You’ll also meet God, who cares about you very much.
Right from its start in 1847, this little town along the Columbia River was built with calloused hands. In these pages, one will see the loggers, shipbuilders, quarrymen, and mill workers. Their wives, mothers, and children are here, too, softening the edges and nourishing a community in the woods. Those early settlers built St. Helens to last, and through decades of booms and busts, tragedies and triumphs, the people's love for this place, so rich in beauty and possibility, shows in more than 200 images. It is a record of endurance, yes, but also of hope.
Jenkins's book raises serious ethical and legal questions about the relationship between the CIA and Hollywood and the extent to which we consume propaganda from one through the other. . . . Should the CIA be authorized to target American public opinion? If our artists don't confront [the question] more directly, and soon, the Agency will only continue to infiltrate our vulnerable film and television screens—and our minds." —Tom Hayden, Los Angeles Review of Books "The book makes a strong case that the CIA should not be in Hollywood at all, but that if it is, it cannot pick and choose which movies it wishes to support. Well written and researched, this study examines a subject that has not received enough scholarly or critical attention. Highly recommended." —Choice "A fascinating, highly readable, and original new work. . . . Incorporating effective, illustrative case studies, The CIA in Hollywood is definitely recommended to students of film, media relations, the CIA, and U.S. interagency relations." —H-Net Reviews
CoCo Higgins lives in the shadow of her famous artistic father, who has made his name painting nude paintings of her mother. The same mother that walked out of her life when she was only nine years old. Together with her sister, and a baby brother who is obviously not her father’s child, they live with this man, who can only truly communicate on canvas. Ten years later CoCo gets a scholarship to the prestigious Art Academy in London. There she finds herself following in her father’s footsteps; the same college, the same boarding house with the same landlady. CoCo throws herself into new experiences; the bohemian world of ‘70’s London where love, sex, drugs and a wild evening in the Bunny Club are all part of CoCo’s liberated exciting life. Until that fateful Monday morning when a new life drawing model turns up in college. She would recognise that body anywhere, she saw it often enough in her father’s paintings. CoCo comes face to face with the woman she hasn’t seen since she was nine years old.
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