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Two sexy, suspenseful bestsellers? together in one volume! Two stories of dangerous women entangled in the arms of deliciously treacherous men? Trouble in High Heels When Brandi Michaels discovers her fiancé hopping a flight to Vegas to marry his other girlfriend, she pawns her ring, buys herself a fabulous outfit, and spends one sultry night in the arms of a gorgeous Italian stranger named Roberto Bartolini. And when Brandi becomes the mark for a killer, she has no choice but to turn to Roberto?a man who?s destined to be either her savior or her downfall? Tongue in Chic Devlin Fitzwilliam catches Meadow Szarvas breaking into his mansion to steal a priceless painting. In sheer desperation she tells him she has amnesia. But then he claims she?s his wife?and Meadow finds herself locked in a match of high-stakes deception. She doesn?t dare take her eyes off him?and doesn?t want to?yet the danger is just beginning?
Hired by a wealthy banker to undermine an extortionist who has threatened to reveal personal secrets unless he receives multiple grand sums, John Quincannon and Sabina Carpenter find the case turning deadly when a courier is found dead in a locked room.
What does it mean for the Sun to call Shami Chakrabarti ‘the most dangerous woman in Britain’ or the Daily Mail to label Nicola Sturgeon ‘the most dangerous wee woman in the world’? What, really, does it mean to be a dangerous woman? This powerful anthology presents fifty answers to that question, reaching past media hyperbole to explore serious considerations about the conflicts and power dynamics with which women live today. In Dangerous Women, writers, artists, politicians, journalists, performers and opinion-formers from a variety of backgrounds – including Irenosen Okojie, Jo Clifford, Bidisha, Nada Awar Jarrar, Nicola Sturgeon and many more – reflect on the long-standing idea that women, individually or collectively, constitute a threat. In doing so, they celebrate and give agency to the women who have been dismissed or trivialised for their power, talent and success – the women who have been condemned for challenging the status quo. They reclaim the right to be dangerous.
Broadside ballads-folio-sized publications containing verse, a tune indication, and woodcut imagery-related cautionary tales, current events, and simplified myth and history to a wide range of social classes across seventeenth century England. Ballads straddled, and destabilized, the categories of public and private performance spaces, the material and the ephemeral, music and text, and oral and written traditions. Sung by balladmongers in the streets and referenced in theatrical works, they were also pasted to the walls of local taverns and domestic spaces. They titillated and entertained, but also educated audiences on morality and gender hierarchies. Although contemporaneous writers published volumes on the early modern controversy over women and the English witch craze, broadside ballads were perhaps more instrumental in disseminating information about dangerous women and their acoustic qualities. Recent scholarship has explored the representations of witchcraft and malfeasance in English street literature; until now, however, the role of music and embodied performance in communicating female transgression has yet to be investigated. Sarah Williams carefully considers the broadside ballad as a dynamic performative work situated in a unique cultural context. Employing techniques drawn from musical analysis, gender studies, performance studies, and the histories of print and theater, she contends that broadside ballads and their music made connections between various degrees of female crime, the supernatural, and cautionary tales for and about women.
The definitive biography of a trailblazing actress who entertained—and shocked—the nation and the world Marilyn Monroe might never have become the legend she did without America’s original tragic starlet: actress and poet Adah Isaacs Menken (1835–68). In a century remembered for Victorian restraint, Menken’s modern flair for action, scandal, and unpopular causes—especially that of the Jewish people—revolutionized show business. On stage, she was the first actress to bare all. Off stage, she originated the front-page scandal and became the world’s most highly paid actress—celebrated on Broadway, as well as in San Francisco, London, and Paris. At thirty-three, she mysteriously died. A Dangerous Woman is the first book to tell Menken’s fascinating story. Born in New Orleans to a “kept woman of color” and to a father whose identity is debated, Menken eventually moved to the Midwest, where she became an outspoken protégé of the rabbi who founded Reform Judaism. In New York City, she became Walt Whitman’s disciple. During the Civil War she was arrested as a Confederate agent—and became America’s first pin-up superstar. Menken married and left five husbands. Ultimately, she paid dearly for success. A major biography of a remarkable woman, A Dangerous Woman is must reading for those interested in women’s history, the roots of modern-day American Judaism, and African-American history. Praise for a previous book by Barbara and Michael Foster, Forbidden Journey: The Life of Alexandra David-Neel “Hers was a great human life, very well written up in Forbidden Journey. . . . Surely this biography will provoke even more interest.” —New York Times Book Review
Iconoclastic, courageous, feisty and enraged at the Constitution-busting actions of the G.W. Bush administration, a group of parody-singing old women, the Santa Cruz gaggle of Raging Grannies, plays a dirty little trick on a fanatically right-wing pundit on local TV. His ghastly death by poison the very next day sets them off to find his murderer--or was it, as the police believe, suicide?--and brings them very close to lethal danger themselves.
Named one of 2021’s Most Anticipated Historical Novels by Oprah Magazine ∙ Cosmopolitan ∙ and more! Nearly two hundred condemned women board a transport ship bound for Australia. One of them is a murderer. From debut author Hope Adams comes a thrilling novel based on the 1841 voyage of the convict ship Rajah, about confinement, hope, and the terrible things we do to survive. London, 1841. One hundred eighty Englishwomen file aboard the Rajah, embarking on a three-month voyage to the other side of the world. They're daughters, sisters, mothers—and convicts. Transported for petty crimes. Except one of them has a deadly secret, and will do anything to flee justice. As the Rajah sails farther from land, the women forge a tenuous kinship. Until, in the middle of the cold and unforgiving sea, a young mother is mortally wounded, and the hunt is on for the assailant before he or she strikes again. Each woman called in for question has something to fear: Will she be attacked next? Will she be believed? Because far from land, there is nowhere to flee, and how can you prove innocence when you’ve already been found guilty?
"The Enlightenment's Most Dangerous Woman: Émilie du Châtelet and the Making of Modern Philosophy introduces the work and legacy of philosopher Émilie Du Châtelet. As the Enlightenment gained momentum throughout Europe, Châtelet broke through the many barriers facing women at the time and published a major philosophical treatise in French. Due to her proclamation that a true philosopher must remain an independent thinker rather than a disciple of some supposedly great man like Isaac Newton or René Descartes, Châtelet posed a threat to an emerging consensus in the Enlightenment. The Enlightenment's Most Dangerous Woman highlights the exclusion of women from colleges and academies in Europe and the fear of rupturing the gender-based order"--
A “stunningly funny” encyclopedia of practical wisdom on marriage, infidelity, motherhood, sex, fashion, friendship, work, self-discovery, and more (Publishers Weekly, starred review). Featuring more than five hundred entries of sage advice, The Book for Dangerous Women shows us how to get through life with a little grace and a lot of fun—from how to accept compliments to when to wear “cami-knickers” to how to deal with ambivalence (toward lovers, friends, or foes), and why owning a cat and a fancy dress may be more fulfilling than sex. Like a dictionary, topics are cross-referenced and many include insights from the famed and infamous, such as Oscar Wilde, Coco Chanel, Mae West, Eve Ensler, Albert Camus, Anaïs Nin, and William Shakespeare. A typical progression of entries is: Affairs, Age, Arrangements, Bananas, Beauty, and Beds, followed by Bereavement, Birthdays, BFs, Blueberries, and Bolt Holes. From those conversations and counseling sessions with your mother, sisters, daughters, and friends to those moments in life that only women can understand, The Book for Dangerous Women is the grown-up and contemporary reference book every woman needs. “Celebrates the art of being fabulous and female at fifteen, fifty, and far beyond.” —Daily Telegraph
In the first full-length study of the figure of the female libertine in late seventeenth- and early eighteenth-century literature, Laura Linker examines heroines appearing in literature by John Dryden, Aphra Behn, Catharine Trotter, Delariviere Manley, and Daniel Defoe. Linker argues that this figure, partially inspired by Epicurean ideas found in Lucretius's De rerum natura, interrogates gender roles and assumptions and emerges as a source of considerable tension during the late Stuart and early Georgian periods. Witty and rebellious, the female libertine becomes a frequent satiric target because of her transgressive sexuality. As a result of negative portrayals of lady libertines, women writers begin to associate their libertine heroines with the pathos figures they read in French texts of sensibilité. Beginning with a discussion of Charles II's mistresses, Linker shows that these women continue to serve as models for the female libertine in literature long after their "reigns" at court ended. Her study places the female libertine within her cultural, philosophical, and literary contexts and suggests new ways of considering women's participation and the early novel, which prominently features female libertines as heroines of sensibility.