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The late 1960s and early 1970s saw the birth of modern feminism, the sexual revolution, and strong growth in the mass-market publishing industry. Women made up a large part of the book market, and Gothic fiction became a higher popular staple. Victoria Holt, Mary Stewart and Phyllis Whitney emerged as prominent authors, while the standardized paperback Gothic sold in the millions. Pitched at middle-class women of all ages, Gothics paved the way for contemporary fiction categories such as urban fantasy, paranormal romance and vampire erotica. Though not as popular today as they once were, Gothic paperbacks retain a cult following--and the books themselves have become collectors' items. They were also the first popular novels to present strong heroines as agents of liberation and transformation. This work offers the missing chapters of the Gothic story, from the imaginative creations of Ann Radcliffe and the Bronte sisters to the bestseller 50 Shades of Grey.
Caryn Castle, a small town police officer in the Midwest, kills a man in self-defense while on duty, a traumatic event that shakes her confidence. At the same time, in Florida, an ex-husband, Jimmy Castle, is involved with a mob hit man in a rip-off of drug money. Double-crossed, Jimmy manages to swipe the loot but makes the mistake of heading back to his hometown. He is pursued by the initial hit man, the Pray-er, and another gunman, Luis Santana, who was in on the heist. A cat-and-mouse game ensues in which Caryn finds not only herself but also her family in danger if the money isn't returned to the Pray-er and Santana. Her only hope of saving herself and the people she loves is to either cooperate with the Pray-er or to outsmart him. Re-arming herself, Caryn vows to bring the pursuit and the danger to an end in a face-to-face encounter. One certainty exists for her: not all the players will survive the crucial hour.
The Holy Grail concludes the For America saga with Otis finding in an island prison a measure of peace, which then is disturbed by baseball and the rape of a woman he loves. He escapes from prison and flees Mexico to settle with the rapist and with the resurrected Enemy, and with the deranged and relentless Cynthia Jones. And after Otis once again falls in love and renews his pursuit of a baseball career, a team of screwball Charles Manson worshippers come seeking revenge against his dear friend Nancy, once a Manson family girl.
Operetta developed in the second half of the 19th century from the French opéra-comique and the more lighthearted German Singspiel. As the century progressed, the serious concerns of mainstream opera were sustained and intensified, leaving a gap between opéra-comique and vaudeville that necessitated a new type of stage work. Jacques Offenbach, son of a Cologne synagogue cantor, established himself in Paris with his series of opéras-bouffes. The popular success of this individual new form of entertainment light, humorous, satirical and also sentimental led to the emergence of operetta as a separate genre, an art form with its own special flavour and concerns, and no longer simply a "little opera". Attempts to emulate Offenbach's success in France and abroad generated other national schools of operetta and helped to establish the genre internationally, in Spain, in England, and especially in Austria Hungary. Here it inspired works by Franz von Suppé and Johann Strauss II (the Golden Age), and later Franz Lehár and Emmerich Kálmán (the Silver Age). Viennese operetta flourished conterminously with the Habsburg Empire and the mystique of Vienna, but, after the First World War, an artistically vibrant Berlin assumed this leading position (with Paul Lincke, Leon Jessel and Edouard Künnecke). As popular musical tastes diverged more and more during the interwar years, with the advent of new influences—like those of cabaret, the revue, jazz, modern dance music and the cinema, as well as changing social mores—the operetta genre took on new guises. This was especially manifested in the musical comedy of London's West End and New York's Broadway, with their imitators generating a success that opened a new golden age for the reinvented genre, especially after the Second World War. This source book presents an overview of the operetta genre in all its forms. The first volume provides an introduction, a representative chronology of the genre from 1840 to 2013, and a survey of the national schools of France and Austria-Hungary. The principal composers are considered in chronological sequence, with biographical material and a list of stage works, selected synopses and some commentary.
These are all true stories written to entertain and amuse you. It is very informative and educational as we visit the culture of Africa where I petted a lion, and trips to the pyramids of Mexico and Guatemala. I tasted muskox in Greenland and visited the geysers in Iceland. Come with me on a Pony Trek in Lesotho.
Plump gnocchi stuffed with juicy plums and then tossed in browned butter, sugar, and cinnamon? How about pasta filled with dried figs and ricotta, or even chocolate and walnuts? Yes, Italian food is more than just spaghetti, and tiny Friuli–Venezia Giulia—hidden from tourist mobs in Italy’s northeast corner—boasts one of the country’s most distinctive regional cuisines. With influences from Austria, Hungary, and Slovenia, the Friulian people cleverly merge humble, local ingredients with exotic spices from foreign lands, resulting in a cuisine that, while often surprising in its blend of sweet and savory flavors, never ceases to delight the palate. In Flavors of Friuli, Elisabeth Antoine Crawford has compiled eighty of Friuli’s traditional recipes—including frico (Montasio cheese crisps) and gubana (dried fruit and nut spiral cake)—and presents them with clear instructions that any home cook can easily follow.