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When Hannah Green's dog comes out of the woods carrying a sneaker that contains a partially decomposed foot, she thinks it's the worst thing that could ever happen to her. She is wrong. Hannah and her best friend, Ashley, decide to play detective but find themselves in the middle of a decades-old mystery. What is the strange old woman Mama Bayole hiding in her decrepit farmhouse? Why is the local librarian so determined to prevent them from researching town history? Who is following them around Hopedale, New Hampshire? The girls make a shocking discovery about what has been happening in the woods behind Hannah's house. As they get closer to the truth, things take a dangerous turn, and they play a deadly game of cat-and-mouse that may end up costing them their lives.
First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.
As I go day to day not looking for bad luck or to do stupid things but it seems to keep following me. You know wrong place wrong time, stupid is as stupid does, it is what it is, and so on and so on. I pray that it is not hereditary and I pass it to my kids; but I think that's wishful thinking. Aiden has broken his arm and wrist three times, had a concussion, dislocated his finger, and got a trampoline spring stuck in his head. Yeah, that one is kind of funny -- a trampoline spring stuck in his head requiring stitches. Brenden with stiches all his car troubles. Maybe it will pass? I looked up the origin of my Deady name and it means 'toothy'. Not sure the about that but dead is within my last name - Deady. I guess Jen can say my bad luck is her bad luck as well.
Talks about history, design and competition with BMX bikes.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1973.
In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.
Nineteenth-century American authors, critics, and readers believed that biography had the power to shape individuals' characters and to help define the nation's identity. In an age predating radio and television, biography was not simply a genre of writing, says Scott Casper; it was the medium that allowed people to learn about public figures and peer into the lives of strangers. In this pioneering study, Casper examines how Americans wrote, published, and read biographies and how their conceptions of the genre changed over the course of a century. Campaign biographies, memoirs of pious women, patriotic narratives of eminent statesmen, "mug books" that collected the lives of ordinary midwestern farmers--all were labeled "biography," however disparate their contents and the contexts of their creation, publication, and dissemination. Analyzing debates over how these diverse biographies should be written and read, Casper reveals larger disputes over the meaning of character, the definition of American history, and the place of American literary practices in a transatlantic world of letters. As much a personal experience as a literary genre, biography helped Americans imagine their own lives as well as the ones about which they wrote and read.