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Preorder the BRAND NEW historical saga from AnneMarie Brear A broken heart, a shameful secret... Wakefield, Yorkshire 1871 Loretta Chambers has spent her life working at her father’s boatyard down at the docks. She’s tried hard to keep the business afloat, but with the railways taking trade away every day, Lorrie fears for the worst. The arrival of handsome Italian, Matteo Falcone brings a brief glimmer of hope and a yearning inside Lorrie for another life, away from the filthy grime of the dockside. But despite her feelings for Matteo, she could never travel to Italy with him, and leave her father alone. But one reckless, impetuous moment leaves Lorrie with a secret she will struggle to hide. And when tragedy strikes at the boatyard, Lorrie is left feeling more alone than ever before. Always a dutiful daughter, Lorrie now carries a shame that could ruin her life forever... Praise for AnneMarie Brear: 'AnneMarie Brear writes gritty, compelling sagas that grip from the first page.' Fenella J Miller 'Mesmerising from beginning to end.' Lizzie Lane 'I love this author's books. They hold you until the very end.' ⭐️⭐️⭐️⭐️⭐️ Reader Review 'I enjoyed it so much I didn't want the story to end.' ⭐️⭐️⭐️⭐️⭐️ Reader Review
From the bestselling author of The Orphan in the Peacock Shawl Wakefield 1870 On the banks of the River Calder, Meg Taylor struggles to care for her younger siblings and sick mother whilst her father is away working as a boatman on the canals. The slums where they live are rife with disease, and Meg longs for a different life, away from the grinding poverty, but she'll never leave her family. But with the canals slowly dying as trade moves to the railways, and with Meg’s father stubbornly holding onto the past, Meg fears her family’s future is going to get even bleaker. If only there was a way she could save them.... Christian Henderson is tired of the greed of his wealthy family. He sees the poverty around him and wishes he could do more to help the proud working-class people he meets. People like Meg Taylor, whose courage he so admires. From the moment he meets Meg, Christian is captivated – Meg might be poor, but she is proud and spirited! Meg’s dreams of being with a man like Christian are fantasy. How can a lass from the waterfront be with a wealthy man such as he? And worse, if she follows her heart to be with him, what will happen to the family she loves? Praise for AnneMarie Brear: 'AnneMarie Brear writes gritty, compelling sagas that grip from the first page.' Fenella J Miller 'Poignant, powerful and searingly emotional, AnneMarie Brear stands shoulder to shoulder with the finest works by some of the genre’s greatest writers such as Catherine Cookson, Audrey Howard and Rosamunde Pilcher.' 'Mesmerising from beginning to end.' Lizzie Lane
Abby is a beautiful biracial slave living on a plantation in Mason, Georgia. She pretends to be a slow-witted mute, a ruse suggested by her owner as a means of protection from her white grandfather, who seeks to kill her. She dreams of two things: safety and freedom. A further scheme to keep her safe brings her in contact with wealthy, handsome Lawrence Mallory, who has impulsively married a beautiful woman only to find she suffers from a violent mental illness. Lawrence soon learns Abby is more than she appears to be, and an attraction grows between the two. When Lawrence’s wife dies, he goes away for several years, leaving Abby bereft. Returning home at last, he is prepared to ask the woman he loves to marry him despite the odds against them as an interracial couple, but a terrible misunderstanding separates them. Will their love remain in the shadows forever?
"I hear a noise," declared Dot, holding her Alice-doll more firmly and staring all about into the aisles of the chestnut grove. "What kind of noise?" asked Tess, mildly curious. "Where does the sound come from?" demanded Agnes in her abrupt way, but very carefully picking brown chestnuts out of a prickly burr-and with gloves on one may be sure. Catch Agnes Kenway, the "beauty sister," ever doing anything to spoil her hands! "Say! Is this a game? Like 'cum-je-cum'?" grumbled Sammy Pinkney, who did not wear gloves and therefore had already got plenty of "prickers" in his stubbed fingers, although the nutting party had not been in the grove half an hour. "I'll bite. How big is the noise?" "Well," said Dot seriously, and answering Sammy's query first, "it is not a big noise at all. I just manage to hear it. And it's gone now."
Beloved author Lindsey Hutchinson is back with another novel of triumph over adversity set in the heart of a Black Country community. Perfect for fans of Josephine Cox and Lyn Andrews. Taken into service, orphan Lily Rae has heard all the stories about what entitled masters think their pretty maid's duties include. But when the very worst happens to her, she knows scrubbing the scullery floors of Ryder House no longer provide refuge from the sadistic Sebastian Ryder... Cold and alone, Lily makes for the town of Wednesbury, knowing she has only herself to rely on... Tilley Green has nothing to her name except a fine figure her worn, patched-up clothes can't disguise, and the voice of an angel. Destined to be a chorus-hall star Tilley must first escape the clutches of her opportunistic and violent manager, a certain Seb Ryder... Life has been a long tough struggle for both Lily and for Tilley, but the town of Wednesbury just could be where they can find their own glimmer of happiness...
Gender Issues in Scandinavian Music Education: From Stereotypes to Multiple Possibilities introduces much-needed updates to research and teaching philosophies that envision new ways of considering gender diversity in music education. This volume of essays by Scandinavian contributors looks beyond the dominant Anglo-American lens while confronting a universal need to resist and rethink the gender stereotypes that limit a young person’s musical development. Addressing issues at all levels of music education—from primary and secondary schools to conservatories and universities— topics discussed include: the intersection of social class, sexual orientation, and teachers’ beliefs; gender performance in the music classroom and its effects on genre and instrument choice; hierarchical inequalities reinforced by power and prestige structures; strategies to fulfill curricular aims for equality and justice that meet the diversity of the classroom; and much more! Representing a commitment to developing new practices in music education that subvert gender norms and challenge heteronormativity, Gender Issues in Scandinavian Music Education fills a growing need to broaden the scope of how gender and equality are situated in music education—in Scandinavia and beyond.
Historicizing Post-Discourses explores how postfeminism and postracialism intersect in dominant narratives of triumphalism, white male crisis, neoliberal and colonial feminism, and multiculturalism to perpetuate systemic injustice in America. By examining various locations within popular culture, including television shows such as Mad Men and The Wire; books such as The Help and Lean In; as well as Hollywood films, fan forums, political blogs, and presidential speeches, Tanya Ann Kennedy demonstrates the dominance of postfeminism and postracialism in US culture. In addition, she shows how post-discourses create affective communities through their engineering of the history of both race and gender justice.