How do our ways of perceiving and producing Shakespeare differ from those of the nineteenth century, and how interrelated has the work of scholars and directors become over this century? Professor Styan's purpose in this book is to discuss the 'revolution' in Shakespeare studies implied by these questions.
In The Postmodern Animal, Steve Baker explores how animal imagery has been used in modern and contemporary art and performance, and in postmodern philosophy and literature, to suggest and shape ideas about identity and creativity. Baker cogently analyses the work of such European and American artists as Olly and Suzi, Mark Dion, Paula Rego and Sue Coe, at the same time looking critically at the constructions, performances and installations of Robert Rauschenberg, Louise Bourgeois, Joseph Beuys and other significant late twentieth-century artists.
Baker's book draws parallels between the animal's place in postmodern art and poststructuralist theory, drawing on works as diverse as Jacques Derrida's recent analysis of the role of animals in philosophical thought and Julian Barnes's best-selling Flaubert's Parrot.
An ancient spell is beginning to unravel. In the face of danger, can true love save them all? For the first time in print, best selling author Brynna Curry gives us three tales of suspense, romance and magic. In EARTH ENCHANTED writer Liv Corrigan teams up with widower and ex-cop Jack Roarke to stop the madman who murdered his wife. Injured, Jack retreats with Liv to his house under armed guard. But with Liv’s mysteries rapidly coming unraveled, a diamond-thief to stop and passion in the air, the safe house is anything but safe for their hearts! Having failed in his mission to avenge his lost would be lover, Serena Roarke, Special Agent Gabriel Spiller returns to Alabama in search of the missing diamonds needed to reopen the investigation in TO TAKE UP THE SWORD. A secret meeting between Leannan O'Neal and her sister before she died left Lea with an ugly figurine and nothing but questions.
Hang-up calls at work and a trashed house reminds her of the card Serena gave her. With a killer hot on her heels, Lea goes on the run in search of Serena's 'Angel', but how long can Gabe keep her alive, and is the cost worth more than her life? In WAIT FOR THE WIND, Kate O'Connell grew up loved by the Corrigan family, all the while suffering from the inescapable reality of her own alcoholic father. At a young age she gave her heart and innocence to Ryan Corrigan. For once happiness seemed within her reach, until in one horror-filled night, the monster she called 'Daddy' changed everything. Too many misunderstandings forced Kate and Ryan apart, but now Kate's come home to open her clinic and raise her daughter, Allaina, closer to his family. Will she be able to open Ryan's heartto his magic? Ryan is glad to be back on Irish soil, but the reason he left still haunts him. As he tries to build a new life and redeem his past, can he forgive Kate and reclaim his healing gift in time to save his sister and her twins?
The short works collected in Four Huts give voice to one of the most treasured aesthetic and spiritual ideals of Asia—that of a simple life lived in a simple dwelling. The texts were written between the ninth and the seventeenth centuries and convey each author's underlying sense of the world and what is to be valued in it. Four Huts presents original translations by Burton Watson—one of the most respected translators of Chinese and Japanese literature. The qualities that emerge from these writings are an awareness of impermanence, love of nature, fondness for poetry and music, and an appreciation of the quiet life. Four Huts features eleven brush paintings by artist Stephen Addiss.
A young boy discovers the depth of the Creator's love and forgiveness as he accompanies his grandmother to deliver Christmas gifts. Earlier in the year the three young men who received the gifts cruelly hurt both grandmother and grandson, pushing them down in the snow and taking their coats and Grandmother's moccasins. In this true story told from his own childhood, Ray Buckley tells how Grandmother labored through the year to produce moccasins for each of the young men that were of extraordinary design and loveliness. In her giving and through her forgiveness she draws the young men into the compassion of God's love. Walking back through the trees, her grandson realizes that same love has made the two of them truly free.
One day she is Linda Farley, a senior in a San Diego high school, with a talent for art, an annoying younger brother, two loving parents, and a prospective boyfriend. Three days later, she is Lainie Foster, hiding with her mother and brother in Olympia, Washington. That's how fast things change after Linda's mother tells her that her father has been caught by the feds in a Mafia money laundering scheme and that the rest of the family has been placed in the Witness Protection Program. By the rules she's given, she must stay out of school, cut off contact with anyone back home, and never tell anyone what has happened. Linda -- now Lainie -- does her best, but in navigating her new life, she faces a number of questions. How could her father do something so contrary to her image of him? Why is her mother so familiar with their new city? How can she pursue a career in art without going to school? What must she do to save her brother from the worst effects of the upheaval? And who is that dark-haired woman she keeps spotting in front of the house? Then there's the biggest question of all: Is she Linda or is she Lainie? Because, in the end, is the choice really anyone's but hers? ///////////////////////////////////////////////// Anne L. Watson, a retired historic preservation architecture consultant, is the author of numerous novels, plus books on such diverse subjects as soapmaking and baking with cookie molds. She currently lives in Friday Harbor, Washington, in the San Juan Islands, with her husband and fellow author, Aaron Shepard.
///////////////////////////////////////////////// SAMPLE "Lainie," Mom said, her voice a little gentler, "we have to follow the rules, whether we like them or not." "The rules are nuts, Mom," I protested. "Like making us keep our old initials.
So the Mafia is too stupid to check the passenger lists for trains and planes leaving Southern California? You think they won't look for two A.
F.'s and an L.F. with one-way tickets to the same place?" Mom moved to the right to let a tailgating Jeep speed ahead. "That's one reason we're splitting up," she said. "WITSEC has never lost anyone who followed the rules," she said. "WITSEC?" I yelped. "Who the hell is that?" "The Witness Security Program. That's its other name." Sheesh. WITSEC. Like the FBI was such a buddy, we needed to give them a nickname. My face itched, and I rubbed it hard. "Don't do that," Mom said. "You'll rub off your makeup." "It feels like dirt. I don't know how you put up with it." "You get used to it.
Especially when you have more important things to worry about." Well, we had that, in spades. I'd just dumped someone I really wanted to go out with. I wouldn't be going to art school next year, because that's what Linda Farley would have done. I had to be someone else, probably forever. Compared to that, grease all over my face really was a detail.
I gave up and quit talking about it. Whining wasn't going to do any good. Mom kept quiet too, watching the traffic.
In the front seat, Alan sang some dumb song from a TV kids' show, over and over. But, as Mom had said, I had more important things to worry about. We took the Alameda Street exit and pulled into the train station. "What are you going to do with the car when you get to the airport?" I asked. "Leave it in a parking lot with the window down and the keys in the ignition." Even the Mafia wouldn't have a chance if she did that. The locals would have that car in a chop shop faster than the Godfather could blink.
Liam Moore has spent the last twelve years of his life as White Wolf, an adopted member of the Blackfoot Nation. His self-imposed isolation ends when his dying best friend begs Liam to marry his cousin. Unable to deny his friend any request Liam marries her. River Lily despises white people and is shocked when her cousin asks that she marry his white friend. Before long she finds her heart softening towards him, but she isn’t sure that she could ever love someone who is white. But a man is stalking River Lily, and there is danger around every tree. Will Liam’s heart heal enough to let River Lily in? Can River Lily learn to let go of the past and love Liam? Or will their love be doomed before it can be realized?