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Murder in the streets. And passion in the shadows... New Orleans, 1902 A killer walks the streets of New Orleans, eviscerating men and leaving them in the streets, and for madam Trula Boudreaux, it's bad for business. Trula needs help but she's not prepared for Zeke Barnes, the charming would-be savior who darkens her doorway-or the yearning he awakens. For while Trula knows well the delights of lust, she avoids love at all costs... Investigating the killer was one thing, but Zeke can't help but be enchanted by the gorgeous mystery woman who runs an exclusive brothel. Caught between his duty to protect the city and his clear-as-day desire for Trula, Zeke sets about capturing Trula's heart-or at least a place in her bed. But with every moment Trula resists, Zeke falls into greater danger. For his investigation into the haunted city and madam doesn't just risk his heart but both their lives.
When Phoebe begins spending time with Brett, a gorgeous guy in her college course, she receives threatening, anonymous notes. Brett's jealous ex, Wendy, is the obvious culprit, so why does Phoebe have the sense that the notes are from someone else--someone with supernatural powers?
In Haunting Capital, Hershini Young sets out to re-theorize the African diaspora "so that the concept becomes unintelligible without an understanding of gender as a constitutive element." Young uses the historically injured bodies of black women, as represented in novels by black women, to talk about colonialism, gender, race, memory and haunting. Haunting Capital departs from traditional trauma studies, which stress individual wounding and psychotherapeutic models. Instead, Young explores the notion of injury as a collective wounding, resulting from the trauma of capitalistic regimes such as slavery and colonialism. She also introduces the idea of the ghost to her discussion of collective injury, where it functions not only on theoretical and metaphorical levels, but also by invoking African cosmologies in which ghosts are ancestral beings with a real spiritual presence. More specifically, Young insists on the contemporary reality of African nations and eschews the presentation of Africa as a vague, undifferentiated point of origin that characterizes many other studies of the African diaspora. Her reading of African contemporary novels by women, alongside African American and Caribbean novels, works to show the African diaspora as haunted by similar, though different, issues of gendered and racialized violence.
Through an examination of post-1997 Thai cinema and video art Arnika Fuhrmann shows how vernacular Buddhist tenets, stories, and images combine with sexual politics in figuring current struggles over notions of personhood, sexuality, and collective life. The drama, horror, heritage, and experimental art films she analyzes draw on Buddhist-informed conceptions of impermanence and prominently feature the motif of the female ghost. In these films the characters' eroticization in the spheres of loss and death represents an improvisation on the Buddhist disavowal of attachment and highlights under-recognized female and queer desire and persistence. Her feminist and queer readings reveal the entangled relationships between film, sexuality, Buddhist ideas, and the Thai state's regulation of heteronormative sexuality. Fuhrmann thereby provides insights into the configuration of contemporary Thailand while opening up new possibilities for thinking about queer personhood and femininity.
Traumatized by the events of We Take Me Apart, the unlikely heroine of Desire: A Haunting leads a silent life in the cottage that has been in her family since Hester Prynne first bequeathed it to Pearl--whose endearingly cranky spirit remains. So begins this strange friendship between "dog" and a ghost calling herself "Ogie." A different kind of love story, Desire is about how dog and Ogie learn to care for each other after only pretending to at first, about how they adopt a ghost child named William whose fascination with holidays brings celebration to the cottage, and about how long-ago dresses made from flowers stitch the three of them closer and invites new spirit into their lives.
First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.
The NFB’s mandate is “[t]o make and distribute films designed to help Canadians in all parts of Canada to understand the ways of living and the problems of Canadians in other parts.” NFB Founding Commissioner John Grierson "It’s only by our lack of ghosts we're haunted. " Canadian poet Earle Birney Haunting Inquiry: Classic NFB Documentary, Jacques Derrida, and the Curricular Otherwise reintroduces significant, if sometimes forgotten, National Film Board of Canada documentaries into contemporary curriculum conversation. Author Robert Christopher Nellis employs an inflection of Derridean deconstruction to mobilize historical, political, and intellectual themes emerging from the films as elliptical, curricular opportunities. The work explores hauntings in and around the documentaries to open toward Others neither fully present nor absent within the Canadian imagination. They remain troublingly illicit, as is the character of haunting... This book’s contribution to the literature of curriculum is a unique and innovative conceptual framework, reintroduction of many classic NFB documentaries, and the use of a productive language and outlook to mobilize fresh perspectives and hopeful possibilities.
London, 1926: Henry Twist's heavily pregnant wife leaves home to meet a friend. On the way, she is hit by a bus and killed, though miraculously the baby survives. Henry is left with nothing but his new daughter - a single father in a world without single fathers. He hurries the baby home, terrified that she'll be taken from him. Racked with guilt and fear, he stays away from prying eyes, walking her through the streets at night, under cover of darkness. But one evening, a strange man steps out of the shadows and addresses Henry by name. The man says that he has lost his memory, but that his name is Jack. Henry is both afraid of and drawn to Jack, and the more time they spend together, the more Henry sees that this man has echoes of his dead wife. His mannerisms, some things he says ... And so Henry wonders, has his wife returned to him? Has he conjured Jack himself from thin air? Or is he in the grip of a sophisticated con man? Who really sent him? Set in a postwar London where the Bright Young Things dance into dawn at garden parties hosted by generous old Monty, The Haunting of Henry Twist is a novel about the limits and potential of love and of grief. It is about the lengths we will go to hold on to what is precious to us, what we will forgive of those we love, and what we will sacrifice for the sake of our own happiness.
Unmasteredis a new kind of book that allows us to think afresh about desire. Incisive, moving, and lyrical, it opens up a larger space for the exploration of feelings that can be difficult to express. Touching on experiences of desire and pleasure, as well as grief and pain, the book probes the porousness between masculine and feminine, thought and sensation, self and culture, power and pliancy. Katherine Angel reflects on the history of her own feelings, on her encounters and beliefs, and shows how our lives can be shaped by sexuality and feminism; by the words we use, and the stories we tell. The result is a book letting light into places that are often dark and constrained - a searching, erotic work that shifts in meaning and resonance even as it is read.