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This inaugural edition of Buzz Books: Romance provides substantial pre-publication excerpts from 20 forthcoming romance titles. Enjoy access to the best romance voices the publishing industry is broadcasting for the upcoming season as you discover new series, catch up with the latest installments from beloved series, and find great standalone titles from top romance authors. From grande dames such as Mary Balogh, Janet Dailey, and Mary Jo Putney to heavy-hitters Kristan Higgins Jill Shalvis, Lori Wilde, and Maisey Yates to hot contemporary writers like Tawna Fenske, and Abbie Roads, the authors excerpted here are bestselling, award-winning, and irresistible. This sampler has nearly every subgenre, too—historical romances set in different eras (Julia London’s Wild Wicked Scot; Kristy Cambron’s The Illusionist’s Apprentice, contemporary comedy, westerns (Lindsay McKenna’s Wind City Wrangler), sports romances (Sarina Bowen’s Rookie Move), thrillers and romantic suspense (Tiffany Snow’s Follow Me; Colleen Coble’s Twilight at Blueberry Barrens) and some with a touch of paranormal. Sarah Wendell, co-founder of Smart Bitches, Trashy Books and an expert in all things romance, offers a useful, even essential roundup of additional, noteworthy summer/fall/winter romance books to have on your radar. Start enjoying books right now that are sure to show up on your personal “must read” lists. Then invite your reading friends and book groups to download their own copy of Buzz Books: Romance, the ebook, from any major ebookstore or at buzz.publishersmarketplace.com. For the best in soon-to-be-published other fiction genres, plus nonfiction, and children’s literature, be sure to read Buzz Books 2016: Fall/Winter or Buzz Books 2016: Young Adult Fall/Winter, available now. Then be on the lookout for the next two editions of Buzz Books covering the spring/summer 2017 publishing season for both adults and young adults, available in January.
This manual provides a detailed presentation of the various Romance languages as they appear in texts written by Jews, mostly using the Hebrew alphabet. It gives a comprehensive overview of the Jews and the Romance languages in the Middle Ages (part I), as well as after the expulsions (part II). These sections are dedicated to Judaeo-Romance texts and linguistic traditions mainly from Italy, northern and southern France (French and Occitan), and the Iberian Peninsula (Catalan, Spanish, Portuguese). The Judaeo-Spanish varieties of the 20th and 21st centuries are discussed in a separate section (part III), due to the fact that Judaeo-Spanish can be considered an independent language. This section includes detailed descriptions of its phonetics/phonology, morphology, lexicon, and syntax.
Victims of the Book uncovers a long-neglected but once widespread subgenre: the fin-de-si?cle novel of formation in France. Novels about and geared toward adolescent male readers were imbued with a deep worry over young Frenchmen's masculinity, as evidenced by titles like Crise de jeunesse (Youth in Crisis, 1897), La Crise virile (Crisis of Virility, 1898), La Vie st?rile (A Sterile Life, 1892), and La Mortelle Impuissance (Deadly Impotence, 1903). In this book, Fran?ois Proulx examines a wide panorama of these novels, many of which have rarely been studied, as well as polemical essays, pedagogical articles, and medical treatises on the perceived threats posed by young Frenchmen's reading habits. Against this cultural backdrop, he illuminates all that was at stake in representations of the male reader by prominent novelists of the period, including Jules Vall?s, Paul Bourget, Maurice Barr?s, Andr? Gide, and Marcel Proust. In the final decades of the nineteenth century, social commentators insistently characterized excessive reading as an emasculating illness that afflicted French youth. Fin-de-si?cle writers responded to this pathologization of reading with a profusion of novels addressed to young male readers, paradoxically proposing their own novels as potential cures. In the early twentieth century, this corpus was critically revisited by a new generation of writers. Victims of the Book shows how Gide and Proust in particular reworked the fin-de-si?cle paradox to subvert cultural norms about literature and masculinity, proposing instead a queer pact between writer and reader.