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For nearly a century, Victorian London relied on “climbing boys”—orphans owned by chimney sweeps—to clean flues and protect homes from fire. The work was hard, thankless, and brutally dangerous. Eleven-year-old Nan Sparrow is quite possibly the best climber who ever lived—and a girl. With her wits and will, she’s managed to beat the deadly odds time and time again. But when Nan gets stuck in a deadly chimney fire, she fears her time has come. Instead, she wakes to find herself in an abandoned attic. And she is not alone. Huddled in the corner is a mysterious creature—a golem—made from ash and coal. This is the creature that saved her from the fire. Sweep is the story of a girl and her monster. Together, these two outcasts carve out a life—saving one another in the process. By one of today’s most powerful storytellers, Sweep is a heartrending adventure about the everlasting gifts of friendship and hope.
A Victorian tale in which Tom, a sooty little chimney sweep with a great longing to be clean, is stolen by fairies and turned into a water-baby.
There was the muffled sound of audience members standing up, and Baylee and Candice turned to look behind them. "Holy smokes!" Baylee breathed. "It's like a Navy SEAL convention or something," Candice added. And it was! Baylee couldn't believe that over twenty-five of the people in the orientation audience were tall, dark, handsome, buff guys dressed all in black. Each man stood with his feet apart and hands held at his back-similar if not exactly like a military "at ease" stance. "They're all packing heat too," Baylee whispered to Candice as she noted all the holstered sidearms. "I guess Mr. O'Sullivan wants to be prepared," Candice said. "I suppose you girls are all wowed now, right?" Tate said from the front row. "Let's see," Candice began, looking to Tate and feigning an expression of thoughtfulness. "Let's say I'm being assaulted by some weirdo in the street...and who am I going to look to for protection? One of these guys?" she said, nodding toward the security staff. "Or you, Tate? You...who freaked out in June when we were in New York and you thought some guy was looking at you funny. You freaked out and slammed Megan's finger in the door and cut it off! Who do you think I'm going to trust?" "It was an accident, and you know it," Tate grumbled. Baylee did know it. Still, she found her eyes glancing down the row of chairs in front of her to Megan-to the missing first joint and fingertip on her right hand. "Yeah, it was," Candice admitted. "But you still cared more about yourself than Megan. The guy was stalking Megan...not you. Real heroic, Tate. Way to go to instilling a sense of confidence in me that you would have my back." "Whatever," Tate grumbled, turning around in his seat to pout. "Thank you," Brian said to his men. Baylee watched as the security staff sat down in unison. "So there you have it...our extra security staff for the next two months. As I said, if you need assistance...just grab a chimney sweep." Baylee giggled. "Grab a cab, grab a snack...grab a chimney sweep." Candice giggled too. "And you know what? I just figured out what I want for Christmas." "Absolutely," Baylee agreed. "I'll never ring 'Chim Chim Cher-ee' with the same mental pictures again."
'Will you write in my album?' Many Romantic poets were asked this question by women who collected contributions in their manuscript books. Those who obliged included Byron, Scott, Wordsworth, and Lamb, but also Felicia Hemans, Amelia Opie, and Sara Coleridge. Album Verses and Romantic Literary Culture presents the first critical and cultural history of this forgotten phenomenon. It asks a series of questions. Where did 1820s 'albo-mania' come from, and why was it satirized as a women's 'mania'? What was the relation between visitors' books associated with great institutions and country houses, personal albums belonging to individuals, and the poetry written in both? What caused albums' re-gendering from earlier friendship books kept by male students and gentlemen on the Grand Tour to a 'feminized' practice identified mainly with young women? When albums were central to women's culture, why were so many published album poems by men? How did amateur and professional poets engage differently with albums? What does album culture's privileging of 'original poetry' have to say about attitudes towards creativity and poetic practice in the age of print? This volume recovers a distinctive subgenre of occasional poetry composed to be read in manuscript, with its own characteristic formal features, conventions, themes, and cultural significance. Unique albums examined include that kept at the Grande Chartreuse, those owned by Regency socialite Lady Sarah Jersey, and those kept by Lake poets' daughters. As Album Verses and Romantic Literary Culture shows, album poetry reflects changing attitudes to identity, gender, class, politics, poetry, family dynamics, and social relations in the Romantic period.