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DIVThe Main and Hazard families clash on and off the Civil War’s battlefields as they grapple with the violent realities of a divided nation /divDIV America’s master storyteller continues his reign with Love and War, a story steeped in passion and betrayal. With the Confederate and Union armies furiously fighting, the once-steadfast bond between the Main and Hazard families continues to be tested. From opposite sides of the conflict, they face heartache and triumph on the frontlines as they fight for the future of the nation and their loved ones. With his impeccable research and unfailing devotion to the historical record, John Jakes offers his most enthralling and enduring tale yet./divDIV /divDIVThis ebook features an illustrated biography of John Jakes including rare images from the author’s personal collection. /div
Hazard and Somerset: Off Duty is a collection of short stories. It includes the following: “Tickets to the Gun Show” Emery Hazard just wants to take his boyfriend to a concert, but some people are assholes. (Takes place before Guilt by Association) “When the Road Rises Up” Hazard and Somers go on their first vacation as a couple, but when no one can explain the sound of a crying child at night, Hazard decides to investigate. (Takes place before Reasonable Doubt) “Little Stoics” Somers is going to get a book signed by Hazard’s favorite author. He just has to keep Hazard from escaping physical therapy first. (Takes place before Criminal Past) “Hazard and Somerset: Off Duty” Six vignettes featuring Hazard and Somerset in daily life. (Takes place after Criminal Past) Please note that three of these stories were distributed in a preliminary form to mailing list subscribers. “Hazard and Somerset: Off Duty” is exclusively available in this collection.
Stockholm syndrome or Love? When you want someone completely wrong for you... Luke Whitford has always dreamed of meeting Mr. Right. A hopeless romantic at heart, he dreams of falling in love with a nice man, getting married, and having a bunch of adorable babies. The problem is, Luke has the propensity for being attracted to men who are anything but nice. Roman Demidov, a homophobic, cynical billionaire who has a grudge against Luke's father, is certainly not Mr. Right. Cold, manipulative, and ruthless, he's not a nice man and he doesn't pretend to be. Luke is fully aware that Roman is all wrong for him. His attraction to the guy is just some sort of Stockholm syndrome; it must be. If life were a fairy tale, Roman would be the main villain, not the hero. But even villains can fall in love. Or can they?
In the wake of feminist and poststructuralist contributions to literary study, how can we read images of women in literature written by men? Is it possible to read anything other than appropriation or misrepresentation in these male portraits of women? Starting with these questions, Van Oostrum looks for openings in a debate that seems to be firmly locked into traditional gender roles. While contemporary literary theory works hard to dismantle oppressive binaries, questions about the representation of an other' often lead back to a dizzying number of rigid identities. Through an examination of Henry Adams's and Henry James's attempts to write about American women, Van Oostrum tries to have it both ways, at once holding on to gendered cultural identity and at the same time challenging a stable personality. Using the sentimental fiction written by women in the 1850s, James and Adams write about the new women' of the turn of the 20th century. Traversing multiple oceans, they increasingly entangle concepts of gender and nationality, othering' not only women but the culture of Europe and the South Seas as well. An analogous movement of a male translation of female American sentimental fiction intersected with national identities, the author argues, takes place in two Dutch novels of the late 19th century. By looking through a Dutch lens at American literature, this book on possible gender crossings shows cultural identities always to be on the move. Crossing from the male author to the female subject on such an international landscape, the author tries to navigate a place for women within and beyond literature written by men.
After Emery Hazard loses his job as a detective in Saint Louis, he heads back to his hometown--and to the local police force there. Home, though, brings no happy memories, and the ghosts of old pain are very much alive in Wahredua. Hazard’s new partner, John-Henry Somerset, had been one of the worst tormentors, and Hazard still wonders what Somerset’s role was in the death of Jeff Langham, Hazard’s first boyfriend. When a severely burned body is discovered, Hazard finds himself drawn deeper into the case than he expects. Determining the identity of the dead man proves impossible, and solving the murder grows more and more unlikely. But as the city’s only gay police officer, Hazard is placed at the center of a growing battle between powerful political forces. To his surprise, Hazard finds an unlikely ally in his partner, the former bully. And as they spend more time together, something starts to happen between them, something that Hazard can’t--and doesn’t want--to explain. The discovery of a second mutilated corpse, though, reveals clues that the two murders are linked, and as Hazard gets closer to answers, he uncovers a conspiracy of murder and betrayal that goes deeper--and closer to home--than he could ever expect.
Half-Hazard is the Winner of the Emily Dickinson First Book Award from the Poetry Foundation for a debut by an American poet over forty. Half-Hazard is a book of near misses, would-be tragedies, and luck. As Kristen Tracy writes in the title poem, “Dangers here. Perils there. It’ll go how it goes.” The collection follows her wide curiosity, from growing up in a small Mormon farming community to her exodus into the forbidden world, where she finds snakes, car accidents, adulterers, meteors, and death-marked mice. These wry, observant narratives are accompanied by a ringing lyricism, and Tracy’s knack for noticing what’s so funny about trouble and her natural impulse to want to put all the broken things back together. Full of wrong turns, false loves, quashed beliefs, and a menagerie of animals, Half-Hazard introduces a vibrant new voice in American poetry, one of resilience, faith, and joy.
After her mother died when Serena Staverley was just nine, her father, Sir Giles, indulged his deep passion for gambling, leaving his only child in charge of an impoverished household.Now a stunningly beautiful young woman, Serena is mortified to hear that her father has been killed in a duel. Worse still, it seems that he went willingly, even deliberately to his death. But why?The appalling answer is presented by her much-loved cousin Nicholas who suddenly proposes marriage - to save Serena from a terrible fate -Sir Giles has not only lost the Staverley estate on the turn of a card, but he has also gambled away the hand in marriage of his lovely daughter, along with her eighty thousand pounds inheritance all in a last desperate bet to try and best his arch-rival at the tables, Lord Vulcan.Serena has little alternative but to marry a man whose wicked ways have contributed to her family's downfall.And Lord Vulcan takes her away from her beloved Staverley to his majestic ancestral home, Mandrake, which is close to the sea and where Serena finds its welcome to be strange and sinister.Abducted by a lecherous guest at Mandrake, threatened by a smuggler Marchioness, rescued by a gentleman highwayman and, resisting the marriage of convenience, Serena slowly realises that she has lost her heart to a man she thought she despised.
This book undertakes a detailed reading of Robert Kroetsch's The Studhorse Man, examining this Canadian novel in its transnational historical and socio-cultural context. Key subject headings are biology and culture, sex and gender, eugenics and contraception, writing and reading. The overarching theme is «disenchanted modernity» in the twentieth-century, the systematic displacement of the divine and natural order by a humanly ordained social regime, and by forms of social engineering that brought to bear the full force of modern science, invasively to alter the most fundamental conditions of human life. The more immediate literary frames of reference are Greek mythology, early Christian debates on the body and marriage, and the lore of the North American Aboriginal trickster, as these are deployed and alluded to in Kroetsch's novel. In establishing the sources and contexts of The Studhorse Man, this study examines Robert Kroetsch's early drafts of the novel, and his many notes taken and clippings assembled during its composition. An effort has been made to appeal to a wide range of general and academic readers alike by avoiding specialized jargon and adopting a cross-disciplinary approach. This book will be of interest to scholars of literature and literary theory, and of use in courses on literature and the novel, on masculinity and gender studies, and on cultural history in the twentieth century.
Life on the NHS front line, working within a system at breaking point, is more extreme than you could ever imagine. From the bloody to the beautiful, from moments of utter vulnerability to remarkable displays of strength, from camaraderie to raw desperation, from heart-wrenching grief to the pure, perfect joy of a new-born baby, midwife Leah Hazard has seen it all