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A wizard. An unwilling assistant. An explosive secret. In an America controlled by wizards and 100 years behind on women's rights, Beatrix Harper counts herself among the resistance-the Women's League for the Prohibition of Magic. Then Peter Blackwell, the only wizard her town has ever produced, unexpectedly returns home and presses her into service as his assistant. Beatrix fears he wants to undermine the League. His real purpose is far more dangerous for them both. Subversive is the first novel in the Clandestine Magic trilogy, set in a warped 21st century that will appeal to fans of romantic gaslamp fantasy. All three books will be released in the fall of 2020. If you're a reader who prefers to know upfront whether a book has a happy ending, what the level of violence or trauma is, whether there are sex scenes and how substantial a part romance plays in the plot, scroll down to the author biography for a link to those details. What reviewers are saying: "An exciting new series! ... I found it hard to put the book down when real life came calling." - Life in the Book Lane Reviews "A spectacular story of magic, politics, social classes, and the uncompromising need to do what you think is right." - Bookshelf Adventures "Readers who enjoy fantasy stories with strong female protagonists, magical powers, intriguing political plots, and a great love story will love Subversive." - One Book More
Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.
**NOW INCLUDING THE FIRST CHAPTER OF DEMON COPPERHEAD** TWICE WINNER OF THE WOMEN'S PRIZE FOR FICTION FROM THE WINNER OF THE PULITZER PRIZE FOR FICTION THE MULTI-MILLION COPY BESTSELLING AUTHOR 'Lush.' Sunday Times 'Superb.' Daily Mail 'Elegantly written.' Sunday Telegraph From award-winning and internationally bestselling author of Demon Copperhead and Flight Behaviour, The Lacuna is the heartbreaking story of a man torn between the warm heart of Mexico and the cold embrace of 1950s America in the shadow of Senator McCarthy. Born in America and raised in Mexico, Harrison Shepherd is a liability to his social-climbing flapper mother, Salome. When he starts work in the household of Mexican artists Diego Rivera and Frida Kahlo - where the Bolshevik leader, Lev Trotsky, is also being harboured as a political exile - he inadvertently casts his lot with art, communism and revolution. A compulsive diarist, he records and relates his colourful experiences of life with Diego Rivera, Frida Kahlo and Trotsky in the midst of the Mexican revolution. A violent upheaval sends him back to America; but political winds continue to throw him between north and south, in a plot that turns many times on the unspeakable breach - the lacuna - between truth and public presumption.
In her first illustrated book for children, the Pulitzer Prize–winning author Toni Morrison introduces three feisty children who show grown-ups what it really means to be a kid.
Known for her bestselling detective novels, Dorothy L. Sayers lived a fascinating, groundbreaking life as a novelist, feminist, Oxford scholar, and important influence on the spiritual life of C.S. Lewis. This pioneering woman not only forged a literary career for herself but also spoke about faith and culture in revolutionary ways as she addressed the evergreen question of to what extent faith should hold on to tradition and to what extent it should evolve with a changing culture. Thanks to her unmatched wisdom, prophetic tone, and insistent strength, Dorothy Sayers is a voice that we cannot afford to ignore. Providing a blueprint for bridge-building in contemporary, polarizing contexts, Subversive shows how Sayers used edgy, often hilarious metaphors to ignite new ways to think about Christianity, shocking people into seeing the truth of ancient doctrine in a new light. Urging readers to reassess interpretations of the Bible that impede the cause of Christ, Sayers helps twenty-first-century Christians navigate a society increasingly suspicious of evangelical vocabularies and find new ways to talk and think about faith and culture. Ultimately, she will inspire believers, on both the right and the left, to evaluate how and why their language perpetuates divisive certitude rather than the hopeful humility of faith, and will show us all a better way forward.
Murder Stories engages with the current theoretical debate in death penalty research on the role of cultural commitments to ‘American’ ideologies in the retention of capital punishment. The central aim of the study is to illuminate the elusive yet powerful role of ideology in legal discourses. Through analyzing the content and processes of death penalty narratives, this research illuminates the covert life of ‘the American Creed,’ (a nexus of ideologies—liberty, egalitarianism, individualism, populism, and laissez faire—said to be unique to the United States) in the law. Murder Stories draws on the entire record of California death sentence resulting trials from three large and diverse California counties for the years 1996 – 2004, as well as interviews with 26 capital caseworkers (attorneys, judges, and investigators) from the same counties. Employing the theoretical framework proposed by Ewick and Silbey (1995) to study hegemonic and subversive narratives, and also the ethnographic approach advocated by Amsterdam and Hertz (1992) to study the producers and processes of constructing legal narratives, this book traces the ideological content carried within the stories told by everyday practitioners of capital punishment by investigating the content, process, and ideological implications of these narratives. The central theoretical finding is that the narratives constructed by both prosecutors and defenders tend to instantiate rather than subvert the ideological tenets of the American Creed.
Investigates the Solomonic narrative through the optics of propaganda and, specifically, subversion. This book explores examples of scribal subversion in 1 Kings 1-11. It examines texts that undermine the legitimacy or the legacy of Solomon and explores the social context in which scribal subversion was not only possible, but perhaps necessary.
The idea of subversive citizenship is explored through theoretical and empirical analyses by a range of prominent social researchers.
Jan Gordon proposes that a reviled communicational 'interest' in gossip and its purveyors be given its proper due in the development of the novel in Britain. Commencing with Sir Walter Scott's historically persecuted (but economically and politically necessary) androgynous voices in caves and concluding with Oscar Wilde's premature celebration of gossip at the very moment it is transformed from public opinion to public judgment, the author finds gossip to be both deforming and shaping nineteenth century 'letters' in surprising ways. Like the ignominious orphan-figure of nineteenth-century fiction, gossip is the 'unacknowledged reproduction' searching for a political antecedence which might lend a legitimacy to its often discontinuous testimony, for a culture historically resistant to obtrusive voices.