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The future of the Taiwan Strait is more wide open than at any other time in recentdecades. Tensions between China and Taiwan have eased since 2008. But the movementtoward full rapprochement remains fragile. Whether the two sides of the Strait can sustain and expand a cooperative relationship after years of mutual distrust and fear is still uncertain. The waters of the Strait are uncharted, and each side worries about shoals beneath the surface. The current engagement between Beijing and Taipei may make possible a solution to their six-decade-long dispute. Whether, when, and how that might happen is, however, shrouded in doubt. China fears the island's permanent separation, by way of either an overt move to de jure independence or continued refusal to unify with the mainland. Taiwan fears subordination to an authoritarian regime that does not have Taipei's interests at heart. And the United States worries about the stability of the East Asian region. Richard Bush, who studied issues surrounding Taiwan during almost twenty years in the U.S. government, explains the current state of relations between China and Taiwan, providing the details of what led to the current situation. And he extrapolates on the likely future of cross-Strait relations. Bush also discusses America's stake, analyzing possible ramifications for U.S. interests in the criticallyimportant East Asia region and recommends steps toprotect those interests. "At the heart of the [Taiwan conundrum] is a question of definition. Does the dispute stem from the protracted division of the Chinese state after World War II, or does the Republic of China on Taiwan in some sense constitute a successor state of the old Republic of China (ROC), one on a par with the People's Republic of China on the Chinese mainland? Whether and how the unification of the two entities might occur hinges on the answer. Indeed, I have argued that the core of the dispute between the two sides has been their disagreement over whether the Republic of China —or Taiwan —isa sovereign entity for purposes of cross-Strait relations. It follows that if unification is a real option, the two sides must form a political union that bridges the disagreement over the island's legal status. Is that possible?" —from the Introduction
The coming of the Blood Moon will lead two Lycan packs into war, spur two rival brothers into conflict, and spark an act of vengeance so evil that its effects will be felt for generations. One woman stands at the center of it all... After years of waiting, the Blood Law is at last avenged. Lycan Alpha Lucien Mondragon takes revenge on his brother, Rafael. Lucien is poised to slay Rafael's life mate, the Lycan/Slayer half-breed Falon- but cannot complete the kill. For Falon's mystical powers and fiery nature awaken a heart Lucien thought long dead. Instead of ending her life, Lucien defiantly marks Falon as his own, tormenting his brother to insanity and spurning Rafael's blood thirst for his own revenge. Though terrified by the savage Lucien, Falon finds herself inexplicably drawn to his primal rage and strength by a desire she cannot resist. Torn between the true love she has for Rafael and the burning hunger she holds for Lucien, Falon knows that the will of her heart will lead her to her destined life mate. But it may also doom the Alpha brothers-and the Lycan race-to extinction...
Honeymoon checklist: Suitcase—check Passport—check Husband—oops When Lilly Swanson's fiancé jilts her in front of five hundred wedding guests, she quickly hurtles through the first three stages of grief: screaming, crying and chocolate-eating. But then she makes a decision. Happily-ever-after may be temporarily on hold, but the honeymoon is still booked. And Lilly's going to go—alone. Except it doesn't quite work out like that. Before the plane even takes off, Lilly meets Damien. Tattooed, darkly mysterious and incredibly sexy, he doesn't plan anything beyond the next exotic trip—or the next scorching kiss. He's impulsive and unpredictable, yet somehow sure of himself. When he asks Lilly to go with him to the only place on earth where she can see a burning moon, she knows that saying yes will change everything. This is a story of what happens when you lose the life you thought would keep you safe—and find the courage to reach for the one you never even dreamed of.
A Study Guide for Jean Toomer's "Blood-Burning Moon," excerpted from Gale's acclaimed Short Stories for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Short Stories for Students for all of your research needs.
A hand slowly reaches out a crack in the window to feel the light sprinkles of rain. The hand, cemented with dirt, sweat, and blood, trembles like a withered leaf clinging to a dead branch. Although filthy, the hand emits a history of grace and elegance long lost to the evils of torture and imprisonment . . . From what Willa recalls, seeing this pitiful hand, and, eventually, the person connected to it, was the catalyst to the discovery of her true self. Willa is a witch, and it turns out her boyfriend, Simon, is a witch, too.
"In the African-American Grain is a powerful exploration of the impact of African-American oral storytelling techniques on modern and contemporary fiction. Reading literature in the call-and-response tradition, John F. Callahan shows how African-American writers including Charles Chesnutt, Jean Toomer, Zora Neale Hurston, Ralph Ellison, Ernest Gaines, and Alice Walker have used the forms and forces of this uniquely participatory discourse to establish not only a potential relationship between storyteller and audience but also a potential for change. In a new preface Callahan comments on how the tradition of call-and-response has continued to develop among African-American writers as well as writers of other backgrounds."
As Nathan Huggins once stated, altering American history to account fully for the nation's black voices would change the tone and meaning--the frame and the substance--of the entire story. Rather than a sort of Pilgrim's Progress tale of bold ascent and triumph, American history with the black parts told in full would be transmuted into an existential tragedy, closer, Huggins said, to Sartre's No Exit than to the vision of life in Bunyan. The relation between memory and history has received increasing attention both from historians and from literary critics. In this volume, a group of leading scholars has come together to examine the role of historical consciousness and imagination in African-American culture. The result is a complex picture of the dynamic ways in which African-American historical identity constantly invents and transmits itself in literature, art, oral documents, and performances. Each of the scholars represented has chosen a different "site of memory"--from a variety of historical and geographical points, and from different ideological, theoretical, and artistic perspectives. Yet the book is unified by a common concern with the construction of an emerging African-American cultural memory. The renowned group of contributors, including Hazel Carby, Werner Sollors, Veve Clark, Catherine Clinton, and Nellie McKay, among others, consists of participants of the five-year series of conferences at the DuBois Institute at Harvard University, from which this collection originated. Conducted under the leadership of Genevieve Fabre, Melvin Dixon, and the late Nathan Huggins, the conferences--and as a result, this book--represent something of a cultural moment themselves, and scholars and students of American and African-American literature and history will be richer as a result.
By lynching, burning, castrating, raping, and mutilating black people, contends Trudier Harris, white Americans were perfomring a rite of exorcism designed to eradicate the "black beast" from their midst, or, at the very least, to render him powerless and emasculated. Black writers have graphically portrayed such tragic incidents in their writings. In doing so, they seem to be acting out a communal role--a perpetuation of an oral tradition bent on the survival of the race. Exorcising Blackness demonstrates that the closeness and intensity of black people's historical experiences sometimes overshadows, frequently infuses and enhances, and definitely makes richer in texture the art of black writers. By reviewing the historical and literary interconnections of the rituals of exorcism, Harris opens up the hidden psyche--the soul--of black American writers.
The Roots of Cane proposes a new way to read one of the most significant works of the New Negro Renaissance, Jean Toomer’s Cane. Rather than focusing on the form of the book published by Boni and Liveright, what Toomer would later call a single textual “organism,” John Young traces the many pieces of Cane that were dispersed across multiple modernist magazines from 1922 through 1923. These periodicals ranged from primarily political monthlies to avant-garde arts journals to regional magazines with transnational aspirations. Young interweaves a periodical-studies approach to modernism with book history and critical race theory, resituating Toomer’s uneasy place within Black modernism by asking how original readers would have encountered his work. The different contexts in which those audiences were engaging with Toomer’s portraits of racialized identity in the Jim Crow United States, yield often surprising results.
This selection of presentations from the Wordsworth Summer Conference opens with Heidi Thomson's fresh new approach to Wordsworth's 'Salisbury Plain' narrative, and closes with Deirdre Coleman investigating the Keats Circle's interest in Indian culture and mythology. Christopher Simons offers an extended treatment of 'Ecclesiastical Sketches' in the context of Wordsworth's career. In other Wordsworth papers, Peter Larkin writes on Wordsworth in the City, Tom Clucas on Wordsworth and Petrarch, Daniel Robinson on an editorial crux in the early 'Prelude', Rowan Boyson on Wordsworth's 'anosmia', Simon Swift on Wordsworth and Charles le Brun, and Richard Gravil on 'sacred sites' in the poetry, from the Chartreuse to Long Meg. Kimiyo Ogawa writes on Godwin, Hazlittt and disinterestedness; Alexandras Paterson on Shelley and Atmospheric Science, and Richard Lansdown on James Montgomery's electrifying poem,' Pelican Island'.