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This wise, humorous and highly entertaining book brings compassion, pithiness and excellent practical suggestions to the vital task of advising widows how to make themselves merry despite having lost the love of their life. After all, as Mary Essinger points out here in 'How to be a Merry Widow'...'Look on the positive side, no shirts to iron for a start. Rejoice in your independence. You can do exactly as you like; paint the house pink, invite your chain-smoking brother to stay or relocate to anywhere on the planet. Consider the good things about being alone. For the first time in your life you are free. Spoil yourself; spend his money on chocolate and taxis. You're worth it.Remove yourself from the place of loneliness, your home. Plan at least one social event every day and plan outings to look forward to. Unless you are dying, staying in all day is a bad idea and will make you morose. You may have demanding things to do in the home but go out at least for some part of the day. Too cold? Wear three coats but go out. Raining? Big umbrella but go out. Not feeling too good? Try fresh air and a walk. Fight any temptation to hide away feeling sorry for yourself.'Ultimately, Mary urges widows to follow her advice because their dear departed one would want them to be happy. As she says:'I wrote "e;How to be a Merry Widow"e; because it's great to be cheerful and widows should support each other. Being a widow has a positive side and the purpose of this book is to tell you about it.'
'Just the thing to chase the blues away' M. C. Beaton Spring is in the air ... and so, too, is the sound of music as the residents of Honeychurch Hall are stunned to learn that the Dowager Countess Lady Edith Honeychurch has agreed to the staging of a production of The Merry Widow in the dilapidated grand ballroom. Fears that the fiercely private octogenarian must be going senile are soon dismissed when our heroine, Kat Stanford, learns that the favour is a result of a desperate request from Countess Olga Golodkin. As one of Edith's oldest friends Olga is the director of the amateur Devon Operatic Dramatic Organization. Just a week before, D.O.D.O's original venue was destroyed in a mysterious fire but since tickets have been sold, costumes made and lucrative local sponsorships secured, Olga is determined that the show must go on. After decades at the helm of D.O.D.O., The Merry Widow will be Olga's swansong and she wants to go out with a bang . . . Praise for Hannah Dennison: 'The perfect classic English village mystery but with the addition of charm, wit and a thoroughly modern touch' Rhys Bowen 'Downton Abbey was yesterday. Murder at Honeychurch Hall lifts the lid on today's grand country estate in all its tarnished, scheming, inbred, deranged glory' Catriona McPherson 'Will delight fans and new readers alike' People's Friend 'A fun read' Carola Dunn 'Sparkles like a glass of Devon cider on a summer afternoon' Elizabeth Duncan
Expert muffin baker Merry Wynter is finally ready to turn her passion into a career. But when a dead body is found on her property, she’s more worried about cooking up an alibi… Merry is making a fresh start in small-town Autumn Vale, New York, in the mansion she’s inherited from her late uncle, Melvin. The house is run-down and someone has been digging giant holes on the grounds, but with its restaurant-quality kitchen, the place has potential for her new baking business. She even has her first client—the local retirement home. Unfortunately, Merry soon finds that quite a few townsfolk didn’t like Uncle Mel, and she has inherited their enmity as well as his home. Local baker Binny Turner and her crazy brother, Tom, blame Melvin for their father’s death, and Tom may be the one vandalizing her land. But when Tom turns up dead in one of the holes in her yard, Merry needs to prove she had nothing to do with his death—or her new muffin-making career may crumble before it starts... FIRST IN A NEW SERIES! Includes delicious recipes!
Saturday, September 22 1. Get a dog cat. 2. Get a man. 3. Get adventurous (go skinny-dipping!) 4. Get a life! She'd been the pampered and protected wife. Now she was a widow with both daughters off at college and she was suddenly desperate to fill her empty nest with something—anything. So when Jill Townsend finds a mysterious key in her late husband's office she sets out to find the door it opens. Saying so long to suburbia, she heads for the wilds of Manhattan, where new friends and career opportunities loom—and sexy men are hitting on her! But will Jill ever be able to step beyond the safe and secure world she's always known and take that leap into merry widowhood?
The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project. This book addresses a variety of specific themes in musicals that serve this general function: fairy tale and fantasy, idealism and inspiration, gender and sexuality, and relationships, among others. It also considers three overlapping genres that are central, in quite different ways, to the projection of personal identity: operetta, movie musicals, and operatic musicals. Among the musicals discussed are Camelot, Candide; Chicago; Company; Evita; Gypsy; Into the Woods; Kiss Me, Kate; A Little Night Music; Man of La Mancha; Meet Me in St. Louis; The Merry Widow; Moulin Rouge; My Fair Lady; Passion; The Rocky Horror Picture Show; Singin' in the Rain; Stormy Weather; Sweeney Todd; and The Wizard of Oz. Complementing the author's earlier work, The American Musical and the Formation of National Identity, this book completes a two-volume thematic history of the genre, designed for general audiences and specialists alike.
"This is a singular reference tool . . . essential for academic libraries." --Reference & User Services Quarterly "Students, professionals, and scholars in the social sciences and health professions are fortunate to have the ′unwieldy corpus of knowledge and literature′ on death studies organized and integrated. Highly recommended for all collections." --CHOICE "Excellent and highly recommended." --BOOKLIST "Well researched with lengthy bibliographies . . . The index is rich with See and See Also references . . . Its multidisciplinary nature makes it an excellent addition to academic collections." --LIBRARY JOURNAL "Researchers and students in many social sciences and humanities disciplines, the health and legal professions, and mortuary science will find the Handbook of Death and Dying valuable. Lay readers will also appreciate the Handbook′s wide-ranging coverage of death-related topics. Recommended for academic, health sciences, and large public libraries." --E-STREAMS Dying is a social as well as physiological phenomenon. Each society characterizes and, consequently, treats death and dying in its own individual ways—ways that differ markedly. These particular patterns of death and dying engender modal cultural responses, and such institutionalized behavior has familiar, economical, educational, religious, and political implications. The Handbook of Death and Dying takes stock of the vast literature in the field of thanatology, arranging and synthesizing what has been an unwieldy body of knowledge into a concise, yet comprehensive reference work. This two-volume handbook will provide direction and momentum to the study of death-related behavior for many years to come. Key Features More than 100 contributors representing authoritative expertise in a diverse array of disciplines Anthropology Family Studies History Law Medicine Mortuary Science Philosophy Psychology Social work Sociology Theology A distinguished editorial board of leading scholars and researchers in the field More than 100 definitive essays covering almost every dimension of death-related behavior Comprehensive and inclusive, exploring concepts and social patterns within the larger topical concern Journal article length essays that address topics with appropriate detail Multidisciplinary and cross-cultural coverage EDITORIAL BOARD Clifton D. Bryant, Editor-in-Chief Patty M. Bryant, Managing Editor Charles K. Edgley, Associate Editor Michael R. Leming, Associate Editor Dennis L. Peck, Associate Editor Kent L. Sandstrom, Associate Editor Watson F. Rogers, II, Assistant Editor