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A one-night stand, a surprise baby, and a mysterious stalker. Mechanic Benjamin Starwell can’t stop thinking about Belle Hamlin, the ballsy musician he slept with and skipped out on months earlier. He never meant to get her pregnant, but he’ll do whatever it takes to win back her trust and be a part of his child’s life. His desire for Belle drives him to be a better man, but he’s worn thin with a garage to run and his estranged sister dumping her troubles on him. Belle’s juggling impending motherhood, her indie rock career, and a stalker who’s determined to see her fail. Even though she’s desperate to get her priorities straight, she pushes aside her past hurt and welcomes Benji back into her bed. She never expects him to slip into her heart. When the danger escalates, they face the greatest challenge of all—protecting their unborn child. – Book 3 in the sexy romantic suspense series, Arresting Onyx. – Please note that Arresting Benjamin is a standalone novel that features scenes with organized crime, drug use (discussed), kidnapping, and attempted assault that may be uncomfortable for some readers. No cheating and HEA guaranteed! Available in the Arresting Onyx series Arresting Mason (Mason and Mia) Arresting Jeremiah (Jim and Calista) Ryan’s Temptation (Ryan and Chanel) Arresting Benjamin (Benji and Belle) Trevor’s Redemption (Trevor and Shea) Arresting Alan (Alan and Hannah)
Concentrating on both widely known and seldom-read texts from a variety of philosophers, writers, and critics—from Leibniz and Mendelssohn, through Kleist and Hebel, to Benjamin and Irigaray—the book analyzes the genesis and structure of interruption, a topic of growing interest to contemporary literary studies, continental philosophy, legal studies, and theological reflection.
"This short book offers a dazzling new interpretation of Paul Klee's most famous work: his Angelus Novus (1920), which was purchased by Walter Benjamin and became the model for his Angel of History, a figure saturated with Jewish mysticism that he introduces in his "Theses on the Philosophy of History." In 2014 the celebrated American artist R. H. Quaytman made a surprising discovery about Klee's work when she examined it at the Jewish Museum in Israel. She realized that Klee had carefully pasted the Angelus down over another image, a face, leaving just a finger's breadth of it showing. Through forensic science and lots of sleuthing it was determined that face belonged to Martin Luther. Behind the Angel of History tells the story of how Quaytman solved the mystery of who lurks behind Klee's angel. It then plunges into questions about why a face long hidden beneath another picture might matter. The book travels through a tangle of loaded conversations among images-from Klee's Angelus to Benjamin's own drawing of a crucified angel, from Klee's Angelus to Quaytman's own layered panels meditating on its secret"--
Ben Thompson was a remarkable man, and few Texans can claim to have crowded more excitement, danger, drama, and tragedy into their lives than he did. He was an Indian fighter, Texas Ranger, Confederate cavalryman, mercenary for a foreign emperor, hired gun for a railroad, an elected lawman, professional gambler, and the victor of numerous gunfights. As a leading member of the Wild West’s sporting element, Ben Thompson spent most of his life moving in the unsavory underbelly of the West: saloons, dance-houses, billiard halls, bordellos, and gambling dens. During these travels many of the Wild West’s most famous icons—Wyatt Earp, Doc Holliday, Bat Masterson, Wild Bill Hickok, John Wesley Hardin, John Ringo, and Buffalo Bill Cody—became acquainted with Ben Thompson. Some of these men called him a friend; others considered him a deadly enemy. In life and in death no one ever doubted Ben Thompson’s courage; one Texas newspaperman asserted he was “perfectly fearless, a perfect lion in nature when aroused.” This willingness to trust his life to his expertise with a pistol placed Thompson prominently among the western frontier’s most flamboyant breed of men: gunfighters.
The Trials of Allegiance examines the law of treason during the American Revolution: a convulsive, violent civil war in which nearly everyone could be considered a traitor, either to Great Britain or to America. Drawing from extensive archival research in Pennsylvania, one of the main centers of the revolution, Carlton Larson provides the most comprehensive analysis yet of the treason prosecutions brought by Americans against British adherents: through committees of safety, military tribunals, and ordinary criminal trials. Although popular rhetoric against traitors was pervasive in Pennsylvania, jurors consistently viewed treason defendants not as incorrigibly evil, but as fellow Americans who had made a political mistake. This book explains the repeated and violently controversial pattern of acquittals. Juries were carefully selected in ways that benefited the defendants, and jurors refused to accept the death penalty as an appropriate punishment for treason. The American Revolution, unlike many others, would not be enforced with the gallows. More broadly, Larson explores how the Revolution's treason trials shaped American national identity and perceptions of national allegiance. He concludes with the adoption of the Treason Clause of the United States Constitution, which was immediately put to use in the early 1790s in response to the Whiskey Rebellion and Fries's Rebellion. In taking a fresh look at these formative events, The Trials of Allegiance reframes how we think about treason in American history, up to and including the present.
Reveals the hidden origins of kitsch in poetry from the eighteenth century. Taking its title from John Keats, My Silver Planet contends that the problem of elite poetry’s relation to popular culture bears the indelible mark of its turbulent incorporation of vernacular poetry—a legacy shaped by nostalgia, contempt, and fraudulence. Daniel Tiffany reactivates and fundamentally redefines the concept of kitsch, freeing it from modernist misapprehension and ridicule, by tracing its origin to poetry’s alienation from the emergent category of literature. Tiffany excavates the forgotten history of poetry’s relation to kitsch, beginning with the exuberant revival of archaic (and often spurious) ballads in Britain in the early eighteenth century. In these controversial events of poetic imposture, Tiffany identifies a submerged pact—in opposition to the bourgeois values of literature—between elite and vernacular poetries. Tiffany argues that the ballad revival—the earliest explicit formation of what we now call popular culture—sparked a perilous but seemingly irresistible flirtation (among elite audiences) with poetic forgery that endures today in the ambiguity of the kitsch artifact: Is it real or fake, art or kitsch? He goes on to trace the genealogy of kitsch in texts ranging from nursery rhymes and poetic melodrama to the lyric commodities of Baudelaire. He scrutinizes the fascist “paradise” inscribed in Ezra Pound’s Cantos as well as the avant-garde poetry of the New York School and its debt to pop and “plastic” art. By exposing and elaborating the historical poetics of kitsch, My Silver Planet transforms our sense of kitsch as a category of material culture.