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For Jews in Nazi-occupied Paris, every day brings new dangers. So when Odette's father is thrown into a work camp and the Nazis suspect her mother of helping the Resistance, Odette is sent to the French countryside until it is safe to return. On the surface, Odette leads the life of a regular girl, going to school, doing chores, even attending Catholic masses with other children. But inside, she is burning with secrets for the life she left behind, and the identity she must hide at all costs. Yet when the war ends, the cost of keeping secrets takes an unexpected toll: can Odette return to Paris as a Jew, or has she changed too much? Inspired by the life of the real Odette Meyer, this moving free-verse novel is a story of triumph over adversity.
A rich analysis of how four Tunisian-Israeli women tell the stories of their lives, and a look at the implications for our own understanding of stories and the behavior of communication.
Odette Brailly entered the nation's consciousness in the 1950s when her remarkable - and romantic - exploits as an SOE agent first came to light. She had been the first woman to be awarded the GC, as well as the Legion d'Honneur, and in 1950 the release of a film about her life made her the darling of the British popular press. But others openly questioned Odette's personal and professional integrity, even claiming that she had a clandestine affair with her supervisor Capt. Peter Churchill, with whom she had worked undercover in France. Soon she became as controversial as she was celebrated. In the first full biography of this incredible woman for nearly sixty years, historian Penny Starn delves into recently opened SOE personnel files to reveal the true story of this wartime heroine and the officer who posed as her husband. From her life as a French housewife living in Britain and her work undercover with the French Resistance, to her arrest, torture and unlikely survival in Ravensbruck concentration camp, Starns reveals for the first time the truth of Odette's mission and the heart-breaking identity of her real betrayer.
Connor believed he lived a relatively easy life until a sorceress transforms him into a wolf. Refusing to do her bidding, Connor escapes. He follows his intuition to travel far away, all the while fighting to keep his humanity from the wolf’s all-pervading instincts. Lost and alone, Connor dreams of a beautiful young woman who brings color back to his monochromatic existence. Ever since her mother passed away, Melody Saltman has been plagued by nightmares. No night occurs without her fighting for her sanity until one evening a beautiful grey wolf breaks into her dream to save her from the inky darkness. In this Dreamtime, Melody and Connor discover that each is more than what they appear to one another. Trevor has been watching Melody ever since she was a little girl, manipulating and maneuvering to have her as his own. When she agrees to him courting her, Trevor knows that he is close to realizing his return to full power as one of the Brotherhood. One way or another, he will have Melody. When Melody discovers Connor is real, new questions about her past and her sanity come to the fore. How can it be possible to love a wolf, let alone spend the rest of her life with one, when Trevor is there for her? Can Connor become the man Melody needs in her life? More importantly, does he want to?
A study in obsession, Marcel Proust's A la recherche du temps perdu is seemingly a self-sufficient universe of remarkable internal consistency and yet is full of complex, gargantuan digressions. Richard Goodkin follows the dual spirit of the novel through highly suggestive readings of the work in its interactions with music, psychoanalysis, philosophy, and cinema, and such literary genres as epic, lyric poetry, and tragedy. In exploring this fascinating intertextual network, Goodkin reveals some of Proust's less obvious creative sources and considers his influence on later art forms. The artistic and intellectual entities examined in relation to Proust's novel are extremely diverse, coming from periods ranging from antiquity (Homer, Zeno of Elea) to the 1950s (Hitchcock) and belonging to the cultures of the Greek, French, German, and English-speaking worlds. In spite of this variety of form and perspective, all of these analyses share a common methodology, that of "digressive" reading. They explore Proust's novel not only in light of such famous passages as those of the madeleine and the good-night kiss, but also on the basis of seemingly small details that ultimately take us, like the novel itself, in unexpected directions.