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Like Snow Falling on Cedars, a stirring tale of wartime love April, 1944. The quiet rural village of Stark, New Hampshire is irrevocably changed by the arrival of 150 German prisoners of war. And one family, unexpectedly divided, must choose between love and country. Camp Stark is under the command of Major John Brennan, whose beautiful daughter, Collie, will serve as translator. Educated at Smith and devoted to her widowed father, Collie is immediately drawn to Private August Wahrlich, a peaceful poet jaded by war. As international conflict looms on the home front, their passion blinds them to the inevitable dangers ahead. Inspired by the little-known existence of a real World War II POW camp, The Major’s Daughter is a fresh take on the timeless theme of forbidden love.
Caroline Adams returns to Indian Territory after tiring of confining society life. She wants adventure, and when she and her friend Amber come across swaggering outlaw Frisco Smith, they find his dreams for the new territory are very persuasive. With the much-anticipated land run pending, they may just join the rush. Growing up parentless, all Frisco Smith wanted was a place to call his own. It's no wonder that he fought to open the Unassigned Lands. After years of sneaking across the border, he's even managed to put in a dugout house on a hidden piece of property he's poised to claim. When the gun sounds, everyone's best plans are thrown out the window in the chaos of the run. Caroline and Frisco soon find themselves battling over a claim--and both dig in their heels. Settling the rightful ownership will bring these two closer than they ever expected and change their ideas of what a true home looks like.
Poetry collection by devorah major, third San Francisco Poet Laureate.
The Bone Shard Daughter is an unmissable debut from a major new voice in epic fantasy — a stunning tale of magic, mystery, and revolution in which the former heir to the emperor will fight to reclaim her power and her place on the throne. "One of the best debut fantasy novels of the year." — BuzzFeed News "An amazing start to a new trilogy." — Culturess "It grabs you by the heart and the throat from the first pages and doesn't let go." — Sarah J. Maas The emperor's reign has lasted for decades, his mastery of bone shard magic powering the animal-like constructs that maintain law and order. But now his rule is failing, and revolution is sweeping across the Empire's many islands. Lin is the emperor's daughter and spends her days trapped in a palace of locked doors and dark secrets. When her father refuses to recognise her as heir to the throne, she vows to prove her worth by mastering the forbidden art of bone shard magic. Yet such power carries a great cost, and when the revolution reaches the gates of the palace, Lin must decide how far she is willing to go to claim her birthright - and save her people. "One of the best debut fantasy novels of the year." —BuzzFeed News "An amazing start to a new trilogy." —Culturess "It grabs you by the heart and the throat from the first pages and doesn't let go." —Sarah J. Maas "Epic fantasy at its most human and heartfelt . . . inventive, adventurous and wonderfully written." —Alix E. Harrow "Utterly absorbing. I adored it." —Emily Duncan "A thoroughly fantastic read." —Kevin Hearne "Stewart's debut is sharp and compelling. It will hook readers in and make them fiercely anticipate the rest of the series." —Booklist "Groundbreaking epic fantasy for a new age." —Tasha Suri "Begins with a spark of intrigue that ignites into a thrilling adventure." —Hafsah Faizal
EDGERLEY the first lay on the eastern flank of Chillawassee Mountain; Edgerley the second six hundred feet above. The first Edgerley, being nearer the high civilization of the state capital, claimed the name, and held it; while the second Edgerley was obliged to content itself with an added "far." Far Edgerley did not object to its adjective so long as it was not considered as applying especially to the distance between it and the lower town. It was "far," if you pleased—far from cities, far from traffic, from Babylon, from Zanzibar, from the Pole—but it was not "far" from Edgerley. Rather was Edgerley far from it, and—long may she keep so! Meanwhile Edgerley the first prospered, though rather plebeianly. She had two thousand inhabitants, cheese factories, saw-mills, and a stage line across Black Mountain to Tuloa, where connection was made with a second line, which went eastward to the railway. An Edgerley merchant, therefore, could reach the capital of his state in fifty-five hours: what could man want more? The merchants were of the opinion that they wanted nothing; they fully appreciated their advantages, and Edgerley. But their neighbors on top of the mountain, who looked down upon them in more senses than one, did not agree with them in their opinion; they infinitely preferred their own village, though it had no factories, no saw-mills, no stage line to Tuloa, and no necessity for one, and no two thousand inhabitants—hardly, indeed, and with stretching, a bare thousand. There would seem to have been little in these lacks upon which to found a pride, if the matter had been viewed with the eyes of that spirit of progress which generally takes charge of American towns; but, so far at least, the Spirit of Progress had not climbed Chillawassee Mountain, and thus Far Edgerley was left to its prejudiced creed. The creed was ancient—both towns boasting an ante-Revolutionary origin—but, though ancient, Madam Carroll of the Farms had been the first to embody it in a portable phrase; brief (for more words would have given too much importance to the subject), calmly superior, as a Carroll phrase should be. Madam Carroll had remarked that Edgerley seemed to her "commercial." This was excellent. "Commercial!" Nothing could be better. Whatever Far Edgerley was, it certainly was not that. Madam Carroll of the Farms, upon a certain evening in May, 1868, was sitting in her doorway, her eyes fixed upon the dull red line of a road winding down the mountain opposite. This road was red because it ran through red clay; and a hopelessly sticky road it was, too, at most seasons of the year, as the horses of the Tuloa stage line knew to their cost. But the vehicle now coming through the last fringes of the firs was not a stage; and it was drawn, also, by two stout mules that possessed a tenacity of purpose greater even than that of red clay. It was the carriage of Major Carroll of the Farms, Far Edgerley, and at the present moment it was bringing home his daughter from the western terminus of the railway. A gentleman's carriage drawn by mules might have seemed something of an anomaly in certain localities farther eastward. But not here. Even Edgerley regarded this possession of its rival with a respect which included the mules, or rather, which effaced them in the general aroma of the whole, an aroma not actual (the actual being that of ancient leather not unacquainted with decay), but figurative—the aroma of an undoubted aristocracy. For "the equipage," as it was called, had belonged to the Carrolls of the Sea Islands, who, in former days of opulence, had been in the habit of spending their summers at the Farms. When their distant cousin, the Major, bought the Farms, he bought the carriage also. This was as well. The Sea Island Carrolls had no longer any use for a carriage.
In the start of a new fantasy trilogy, the Clan of Ash is dying, and their totem tree is withering away. There is a prophecy that a daughter of Ash will rise again, but none have survived the mass killings--except one.
Major Characters in American Fiction is the perfect companion for everyone who loves literature--students, book-group members, and serious readers at every level. Developed at Columbia University's Center for American Culture Studies, Major Characters in American Fiction offers in-depth essays on the "lives" of more than 1,500 characters, figures as varied in ethnicity, class, sexual orientation, age, and experience as we are. Inhabiting fictional works written from 1790 to 1991, the characters are presented in biographical essays that tell each one's life story. They are drawn from novels and short stories that represent ever era, genre, and style of American fiction writing--Natty Bumppo of The Leatherstocking Tales, Celie of The Color Purple, and everyone in between.
Between 1820 and 1913, approximately 16,000 black people left the United States to start new lives in Liberia, Africa, in what was at the time the largest out-migration in US history. When Tolbert Major, a former Kentucky slave and single father, was offered his own chance for freedom, he accepted. He, several family members, and seventy other people boarded the Luna on July 5, 1836. After they arrived in Liberia, Tolbert penned a letter to his former owner, Ben Major: "Dear Sir, We have all landed on the shores of Africa and got into our houses.... None of us have been taken with the fever yet." Drawing on extensive research and fifteen years' worth of surviving letters, author Susan E. Lindsey illuminates the trials and triumphs of building a new life in Liberia, where settlers were free, but struggled to acclimate themselves to an unfamiliar land, coexist with indigenous groups, and overcome disease and other dangers. Liberty Brought Us Here: The True Story of American Slaves Who Migrated to Liberia explores the motives and attitudes of colonization supporters and those who lived in the colony, offering perspectives beyond the standard narrative that colonization was driven solely by racism or forced exile.
Paris, 1919. The world's leaders have gathered to rebuild from the ashes of the Great War. But for one woman, the City of Light harbors dark secrets and dangerous liaisons, for which many could pay dearly. Brought to the peace conference by her father, a German diplomat, Margot Rosenthal initially resents being trapped in the congested French capital, where she is still looked upon as the enemy. But as she contemplates returning to Berlin and a life with Stefan, the wounded fiancé she hardly knows anymore, she decides that being in Paris is not so bad after all. Bored and torn between duty and the desire to be free, Margot strikes up unlikely alliances: with Krysia, an accomplished musician with radical acquaintances and a secret to protect; and with Georg, the handsome, damaged naval officer who gives Margot a job—and also a reason to question everything she thought she knew about where her true loyalties should lie. Against the backdrop of one of the most significant events of the century, a delicate web of lies obscures the line between the casualties of war and of the heart, making trust a luxury that no one can afford.