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After sixteen-year-old Raina learns that she is a perfect match for donating bone marrow to a leukemia patient in Virginia, she discovers that the young woman is the sister she never knew she had.
Best friends Raina, Kathleen, and Holly volunteer as "pink angels" at the local hospital. Kathleen is at first reluctant. But when she meets a cute fellow volunteer, Kathleen is happy she joined the program. Or, at least, she thinks she is.
Introduction Little Angel in Pink and Friends is a story that I have written in memory of my daughter Laurie Jean. She went to heaven to be with JESUS when she was an infant from a serious heart defect. Making the story a fun place for little angels like Laurie Jean helped me to be able to think of her without hurting inside. I will always keep her in my heart, but knowing she is with JESUS and the precious Angels makes me feel at peace inside. Laurie Jean's age in the book is five years old, the reason for that at the age of five, I was placed in a children's home. This story has also helped me cope with that part of my life. I pray that this precious book will help children with serous illnesses, see that heaven is a beautiful place. And that JESUS is there to Love and care for them. Laurie Jeans, friend Timmy was a young boy that had cancer. Logan was Laurie Jean's cousin that went to heaven as an infant. Quack-Quack was a little baby duck that had drown in a family pool. They all had families here on earth. This book is in memory of them also. God is so precious to all children and their families. My heart goes out to all parents. It's not easy these days. Raising children, it's much harder when you have a child that has an illness. God bless!
Raina is happy and relieved that her friends Kathleen and Holly found volunteering at the hospital rewarding. They loved their summers at the hospital so much they will be working for credit during their junior year. Raina is also looking forward to spending as much time as possible with Hunter during their last year of high school together. Kathleen is still dating Carson, but they are at different schools and she’s worried it won’t last. And poor Holly’s still waiting for her parents to let up on their rules so she can actually go out on a date. Everything is going well until Raina’s old boyfriend Tony shows up and threatens to ruin the thing that matters to Raina the most—her relationship with Hunter. But she isn’t the only one with a secret. When Raina’s mother reveals her family secret, Raina feels betrayed. Luckily she has Holly and Kathleen to lean on.
Winner of a Betty Trask Award Shortlisted for the Dylan Thomas Prize and the Commonwealth Book Prize Longlisted for the Desmond Elliot Prize The Spider King's Daughter is a modern-day Romeo and Juliet set against the backdrop of a changing Lagos, a city torn between tradition and modernity, corruption and truth, love and family loyalty. Seventeen-year-old Abike Johnson is the favourite child of her wealthy father. She lives in a She lives in a sprawling mansion in Lagos, protected by armed guards and ferried everywhere in a huge black jeep. But being her father's favourite comes with uncomfortable duties, and she is often lonely behind the high walls of her house. A world away from Abike's mansion, in the city's slums, lives a seventeen-year-old hawker struggling to make sense of the world. His family lost everything after his father's death and now he runs after cars on the roadside selling ice cream to support his mother and sister. When Abike buys ice cream from the hawker one day, they strike up an unlikely and tentative romance, defying the prejudices of Nigerian society. But as they grow closer, revelations from the past threaten their relationship and both Abike and the hawker must decide where their loyalties lie.
MY Dear Reader, -This story is not to be a novel, as the world understands the word; and we tell you so beforehand, lest you be in ill-humor by not finding what you expected. For if you have been told that your dinner is to be salmon and green peas, and made up your mind to that bill of fare, and then, on coming to the ta-ble, find that it is beefsteak and tomatoes, you may be out of sorts; not because beefsteak and tomatoes are not respectable viands, but because they are not what you have made up your mind to enjoy
Surrounded by lies and deceit how do you work out who is telling the truth? When highly decorated war hero, Colonel Tariq joins the intelligence agency, his rise to the top seems assured. But in his first case he discovers a CIA agent has killed a young prostitute and a diplomatic crisis erupts.As the two nations negotiate, angry mobs take to the streets and he is caught up in a national scandal. Tariq is instructed to eliminate the only witness and instigate a cover up, trapping him in a terrible moral dilemma. As his professional ambition and private life collide, he must make a life changing decision that will have far reaching consequences for the future of his family and his country.
From the legendary poet Oisin to modernist masters like James Joyce, William Butler Yeats, and Samuel Beckett, Ireland's literary tradition has made its mark on the Western canon. Despite its proud tradition, the student who searches the shelves for works on Irish women's fiction is liabel to feel much as Virginia Woolf did when she searched the British Museum for work on women by women. Critic Nuala O'Faolain, when confronted with this disparity, suggested that "modern Irish literature is dominated by men so brilliant in their misanthropy... [that] the self-respect of Irish women is radically and paradoxically checkmated by respect for an Irish national achievement." While Ann Owen Weekes does not argue with the first part of O'Faolain's assertion, she does with the second. In Irish Women Writers: An Uncharted Tradition, she suggests that it is the critics rather than the writers who have allowed themselves to be checkmated. Beginning with Maria Edgeworth's Castle Rackrent (1800) and ending with Jennifer Johnston's The Railway Station (1980), she surveys the best of the Ireland's female literature to show its artistic and historic significance and to demonstrate that it has its own themes and traditions related to, yet separate from, that of male Irish writers. Weekes examines the work of writers like E.OE. Sumerville and Martin Ross (pen names for cousins Edith Somerville and Violet Martin), Elizabeth Bowen, Kate O'Brien, Mary Lavin, and Molly Keane, among others. She teases out the themes that recur in these writers' works, including the link between domestic and political violence and re-visioning of traditional stories, such as Julia O'Faolain's use of the Cuchulain and Diarmuid and Grainne myths to reveal the negation of women's autonomy. In doing so, she demonstrates that the literature of Anglo- and Gaelic-Irish women presents a unified tradition of subjects and techniques, a unity that might become an optimistic model not only for Irish literature but also for Irish people.