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Stories about siblings abound in literature, drama, comedy, biography, and history. We rarely talk about our own siblings without emotion, whether with love and gratitude, or exasperation, bitterness, anger and hate. Nevertheless, the subject of what it is to be and to have a sibling is one that has been ignored by psychiatrists, psychologists and therapists. In My Dearest Enemy, My Dangerous Friend, Dorothy Rowe presents a radically new way of thinking about siblings that unites the many apparently contradictory aspects of these complex relationships. This helps us to recognise the various experiences involved in sibling relationships as a result of the fundamental drive for survival and validation, enabling us to reach a deeper understanding of our siblings and ourselves. If you have a sibling, or you are bringing up siblings, or, as an only child, you want to know what you’re missing, this is the book for you.
Connie Brockway’s novel of unexpected love begins with a series of letters between a world-weary adventurer and the beautiful suffragette whose passion calls him home. “Dear Mr. Thorne, For the next five years, I will profitably manage this estate. I will deliver to you an allowance and I will prove that women are just as capable as men.” Lillian Bede is shocked when she is tapped to run the affairs of an exquisite country manor. But she accepts the challenge, taking the opportunity to put her politics into practice. There’s only one snag: Lily’s ward, the infuriating, incorrigible globe-trotter Avery Thorne. “My Dear Miss Bede, Forgive me if I fail to shudder. Pray, do whatever you bloody well want, can, or must.” Avery’s inheritance is on hiatus after his uncle dies—and his childhood home is in the hands of some domineering usurper. But when he finally returns, Avery finds that his antagonist is not at all what he expected. In fact, Lily Bede is stunning, exotic, provocative—and impossible to resist. Includes a special message from the editor, as well as excerpts from other Loveswept titles.
Dear Enemy is the sequel to novel Daddy-Long-Legs and follows the story of Sallie McBride, Judy Abbott's classmate and best friend in Daddy-Long-Legs. Dear Enemy shows how Sallie McBride grows from a frivolous socialite to a mature woman and an able executive. It also follows the development of Sallie's relationships with Gordon Hallock, a wealthy politician, and Dr. Robin MacRae, the orphanage's physician, (to whom Sallie addresses her letters: "Dear Enemy"). Both relationships are affected by Sallie's initial reluctance to commit herself to her job, and by her gradual realization of how happy the work makes her and how incomplete she'd feel without it.
Susanna LeGrande lost her fiancé, her brother and her beloved home to the Union Army. But her grief only strengthened her resolve to spy for the Confederacy. The once–pampered Southern belle charmed her way through Washington society, falling brazenly into the arms of Rear Admiral Mitchell B. Longley, a commanding Union sailor. She seduced, used…and loved the powerful man. In the heat of ecstasy, Susanna forgot Mitch was her enemy—she surrendered her body and her heart. But her ruthless betrayal in the name of the South would cost Mitch everything—his command, his men and very nearly his life. She left a shattered, soulless man in her wake. And now Susanna's dearest love, her dearest enemy, will show her that the sweet kiss of vengeance is a game he, too, can play….
Daddy-Long-Legs: Large Print By Jean Webster Jerusha Abbott was brought up at the John Grier Home, an old-fashioned orphanage where the children were wholly dependent on charity. At the age of 18, her education finished, she is at loose ends, and has begun to work in the dormitories of the orphanage when the asylum's trustees make their monthly visit. An unidentified trustee has spoken to Jerusha's former teachers, has heard she is an excellent writer, and has offered to pay for college tuition and a generous monthly allowance on the condition that she writes him a monthly letter -- but she will never know his identity, and he will never reply.
"Amerian nurse Annie Rawlings finds herself behind enemy lines in WWII, captured and alone with a wounded German soldier. Through shared danger, faith, and a love of music, the two forge a bond that will be tested by prejudice and the separations of time and continents"--Provided by publisher.
Fiction. A woman discovers a hand in the garden, a wrist in the sink, and resigns herself to stand by and watch as her lover reduces herself to an eyeball. DEAR ENEMY, is a collection of twenty-one depraved tales. A dead family strokes their rage while wandering in and out of other family photographs. Another woman wrestles with marital ambivalence as a bear carries her husband off their front porch and into a nearby forest. These stories are haunted by strange, inexplicable, and sinister yearnings. With the terse simplicity of fairy tales, DEAR ENEMY, warps familiar fictional forms and serves a vision as intimate as it is alien. "This book is outlandish, uncanny, and telling in the best possible ways." --Amina Cain "DEAR ENEMY announces the arrival of an important new voice on the American innovative writing scene--crazy smart, self-aware, energetic, and impishly irreverent." --Lance Olsen "With a matchbook of stimulating quirky literary devices, Jessica Alexander is ready with her DEAR ENEMY, to light up our hair, our brain, the striking surface of our ignorant taste on fire." --Vi Khi Nao
American Musicals in Context: From the American Revolution to the 21st Century gives students a fresh look at history-based musicals, helping readers to understand the American story through one of the country's most celebrated art forms: the musical. With the hit musical Hamilton (2015) captivating audiences and reshaping the way early U.S. history is taught and written about, this book offers insight into an array of musicals that explore U.S. history. The work provides a synopsis, overview of critical and audience reception, and historical context and analysis for each of 20 musicals selected for the unique and illuminating way they present the American story on the stage. Specifically, this volume explores musicals that have centered their themes, characters, and plots on some aspect of America's complex and ever-changing history. Each in its own way helps us rediscover pivotal national crises, key political decisions, defining moral choices, unspeakable and unresolved injustices, important and untold stories, defeats suffered, victories won in the face of monumental adversity, and the sacrifices borne publicly and privately in the process of creating the American narrative, one story at a time. Students will come away from the volume armed with the critical thinking skills necessary to discern fact from fiction in U.S. history.
Richard Rodgers and Lorenz Hart are one of the defining duos of musical theater, contributing dozens of classic songs to the Great American Songbook and working together on over 40 shows before Hart's death. With hit after hit on both Broadway and the West End, they produced many of the celebrated songs of the '20s and '30s--such as "Manhattan," "The Lady is a Tramp," and "Bewitched"--that remain popular favorites with great cultural resonance today. Yet the early years of these iconic collaborators have remained largely unexamined. We'll Have Manhattan: The Early Work of Rodgers & Hart provides unprecedented insight into the first, formative period of Rodgers and Hart's collaboration. Author Dominic Symonds examines the pair and their work from their first meeting in 1919 to their brief flirtation with Hollywood in the early 1930s as they left the theater to explore sound film. During this time, their output was prodigious, progressive, and experimental. They developed their characteristic style and a new approach to musical theater writing that provided the groundwork for the development of the Broadway musical. Symonds also analyzes the theme of identity that runs throughout Rodgers and Hart's work, how the business side of the theater affected their artistic output, and their continued experimentation with a song's dramatic role within a narrative. We'll Have Manhattan goes beyond a biographical or historical look at Rodgers and Hart's early years--it's also an accessible but authoritative study of their material. Symonds documents their early shows and provides deft critical and analytical commentary on their evolving practice and its influence on the subsequent development of the American musical. Fans of musical theater and devotees of Rodgers and Hart will find this definitive exploration of their early works to be an essential addition to their Broadway library.
For nearly a century, New York's famous "Tin Pan Alley" was the center of popular music publishing in this country. It was where songwriting became a profession, and songs were made-to-order for the biggest stars. Selling popular music to a mass audience from coast-to-coast involved the greatest entertainment media of the day, from minstrelsy to Broadway, to vaudeville, dance palaces, radio, and motion pictures. Successful songwriting became an art, with a host of men and women becoming famous by writing famous songs.