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Giselle "Gee" Gibson, an ambitious yet naïve 24-year-old virgin, is in hot pursuit of the glamorous life. Through rose-tinted lenses, Giselle plots her course and has no intentions for pit-stops like love or babies. However, her plans become unraveled when she becomes captivated by John Anderson, who possesses all of the qualities she desires in a man. Giselle falls deeply in love with John, which leads to an emotionally charged relationship. Through a mélange of joy and pain, Gee's self-image shatters when she uncovers a life-threatening secret John withholds from her. Through syncopated emotions and moral dilemmas, the core fabric of Giselle splinters as she attempts to meander through the labyrinth of her rite-of-passage into womanhood.
One phone call is all it took to derail the course of what appeared to be the happiest time in John AndersonÍs life. A stellar investment banker who recently proposed to the woman of his dreams, Giselle Gibson, was heading to his idea of the American Dream. However, the dream becomes a nightmare on the eve of his 29th birthday. Never lacking vision, drive, or confidence, John finds himself in uncharted territory as he loses the very foundation for his drive and purpose. Haunted by a decision that costs him the lives of his loved ones, JohnÍs life and self-worth shatter before his eyes. No longer in control of his destination, John ultimately allows a near, but distant stranger navigate his footsteps. The road to recovery for this once millionaire-in-the making means cutting loose ends, redefining relationships, and becoming vulnerable. Sometimes to lose is to gain becomes a recurring theme in the next chapter of JohnÍs life.
Defying stereotypes attached to young black males raised in the hood by teen mothers and absentee fathers, Morgan Mitchell excelled as a scholar to a prestigious university. During college, Morgan meets friends who help shape his life's experiences. One such friend, Giselle Gibson, a student from his hometown of Baltimore, becomes his love interest. Unable to speak love's language to one another, Morgan and Giselle venture on a winding and potentially deadly slope. Plagued by an STD, rejected by the love of his life, devastated about the news of his father, and cut by broken images of those closest to him, Morgan's life shatters to the point of no repair. Will he be able to reach the only one who can save his soul before it's too late?
Death, love, destiny, and danger! Lenzi knows she must be going crazy. She's hearing voices and having visions--specifically of gravestones, floods, and a gorgeous guy with steely gray eyes. And there's nothing anyone can do to help, not even her handsome musician boyfriend, Zak. Until she meets Alden, the boy from her dreams, and learns she can speak with lost souls. Now Lenzi must choose: destiny or normalcy. Alden or Zak. Life or death. And time is quickly running out.
Fairness and Freedom compares the history of two open societies--New Zealand and the United States--with much in common. Both have democratic polities, mixed-enterprise economies, individuated societies, pluralist cultures, and a deep concern for human rights and the rule of law. But all of these elements take different forms, because constellations of value are far apart. The dream of living free is America's Polaris; fairness and natural justice are New Zealand's Southern Cross. Fischer asks why these similar countries went different ways. Both were founded by English-speaking colonists, but at different times and with disparate purposes. They lived in the first and second British Empires, which operated in very different ways. Indians and Maori were important agents of change, but to different ends. On the American frontier and in New Zealand's Bush, material possibilities and moral choices were not the same. Fischer takes the same comparative approach to parallel processes of nation-building and immigration, women's rights and racial wrongs, reform causes and conservative responses, war-fighting and peace-making, and global engagement in our own time--with similar results. On another level, this book expands Fischer's past work on liberty and freedom. It is the first book to be published on the history of fairness. And it also poses new questions in the old tradition of history and moral philosophy. Is it possible to be both fair and free? In a vast array of evidence, Fischer finds that the strengths of these great values are needed to correct their weaknesses. As many societies seek to become more open--never twice in the same way, an understanding of our differences is the only path to peace.
What can a cultural history of the heartthrob teach us about women, desire, and social change? From dreams of Prince Charming or dashing military heroes, to the lure of dark strangers and vampire lovers; from rock stars and rebels to soulmates, dependable family types or simply good companions, female fantasies about men tell us as much about the history of women as about masculine icons. When girls were supposed to be shrinking violets, passionate females risked being seen as "unbridled," or dangerously out of control. Change came slowly, and young women remained trapped in double-binds. You may have needed a husband in order to survive, but you had to avoid looking like a gold-digger. Sexual desire could be dangerous: a rash guide to making choices. Show attraction too openly and you might be judged "fast" and undesirable. Education and wage-earning brought independence and a widening of cultural horizons. Young women in the early twentieth century showed a sustained appetite for novel-reading, cinema-going, and the dancehall. They sighed over Rudolph Valentino's screen performances, as tango-dancer, Arab tribesman, or desert lover. Contemporary critics were sniffy about "shop-girl" taste in literature and in men, but as consumers, girls had new clout. In Heartthrobs, social and cultural historian Carole Dyhouse draws upon literature, cinema, and popular romance to show how the changing position of women has shaped their dreams about men, from Lord Byron in the early nineteenth century to boy-bands in the early twenty-first. Reflecting on the history of women as consumers and on the nature of fantasy, escapism, and "fandom," she takes us deep into the world of gender and the imagination. A great deal of feminist literature has shown women as objects of the "male gaze": this book looks at men through the eyes of women.
This book looks at ethnographic discourses concerning the indigenous population of Vietnam's Central Highlands during periods of christianization, colonization, war and socialist transformation, and analyses these in their relation to tribal, ethnic, territorial, governmental and gendered discourses. Salemink's book is a timely contribution to anthropological knowledge, as the ethnic minorities in Vietnam have (again) been the object of fierce academic debate. This is a historically grounded post-colonial critique relevant to theories of ethnicity and the history of anthropology, and will be of interest to graduate students of anthropology and cultural studies, as well as Vietnam studies.
A sassy combination of motherhood wit and wisdom, this collection of humorous tales are from three years of a celebrated back-page column of the popular South African magazine, Living and Loving. In a voice that is both entertaining and endearing, these columns touch on a wide range of parenting issues from naps and parties to potty-training and breast-feeding. Filled with practical, bite-sized advice, this collection is presented chronologically and thematically and puts words to common motherhood emotions, which is crucial for mothers who feel they have lost their voice.
A guide to programs currently available on video in the areas of movies/entertainment, general interest/education, sports/recreation, fine arts, health/science, business/industry, children/juvenile, how-to/instruction.
The Things That Fly in the Night explores images of vampirism in Caribbean and African diasporic folk traditions and in contemporary fiction. Giselle Liza Anatol focuses on the figure of the soucouyant, or Old Hag—an aged woman by day who sheds her skin during night’s darkest hours in order to fly about her community and suck the blood of her unwitting victims. In contrast to the glitz, glamour, and seductiveness of conventional depictions of the European vampire, the soucouyant triggers unease about old age and female power. Tracing relevant folklore through the English- and French-speaking Caribbean, the U.S. Deep South, and parts of West Africa, Anatol shows how tales of the nocturnal female bloodsuckers not only entertain and encourage obedience in pre-adolescent listeners, but also work to instill particular values about women’s “proper” place and behaviors in society at large. Alongside traditional legends, Anatol considers the explosion of soucouyant and other vampire narratives among writers of Caribbean and African heritage who in the past twenty years have rejected the demonic image of the character and used her instead to urge for female mobility, racial and cultural empowerment, and anti colonial resistance. Texts include work by authors as diverse as Nobel Laureate Toni Morrison, U.S. National Book Award winner Edwidge Danticat, and science fiction/fantasy writers Octavia Butler and Nalo Hopkinson.