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"Madame Defarge is one of Dickens''supreme villainesses. Her secret drives her to seek a revenge so strong that it ties her to the French revolution. In this short play, the main story of Charles Dickens' A Tale of Two Cities becomes the peripheral story to that of Madame Defarge and her single-minded revenge. As the full company gathers to speak Dickens' immortal lines "It was the best of times-it was the worst of times..." Madame Defarge is revealed in her husband's wine shop in the poorest district of Paris. From here her plots and machinations involve the innocent Lucie Manette and her father, Dr. Manette, returned to life after an 18-year imprisonment in the Bastille, and the heroic Charles Darnay and his wicked uncle, the Marquis St. Evremonde. Somehow they are all involved in Madame Defarge's secret, which is revealed in the climactic trial scene before the French tribunal-where the convicted are sent to La Guillotine. This hair-raising drama unfolds at a lightening pace and beautifully dramatizes the reasons the poor of France revolted. A myriad of interesting characters and a great ensemble opportunity play out this unusual slant on Dickens' classic novel."--Publisher's website.
She's back. Madame Therese Defarge, a character in the book A Tale of Two Cities by Charles Dickens, worked the names of the condemned into her knitting as she sat near the ever-active revolutionary guillotines. But Dickens never described what Madame Defarge was knitting. As in the beloved first volume in this series, this book brings together a host of knitting (and weaving ) talent to imagine what their favorite fictional characters would knit and wear. From Tristan and Iseult to Jane Bennet to Miss Marple, characters from many of your most-loved classic books finally get the knitwear they deserve."
A Tale of Two Cities (1859) is the second historical novel by Charles Dickens, set in London and Paris before and during the French Revolution. It depicts the plight of the French proletariat under the brutal oppression of t+E3he French aristocracy in the years leading up to the revolution, and the corresponding savage brutality demonstrated by the revolutionaries toward the former aristocrats in the early years of the revolution. It follows the lives of several protagonists through these events, most notably Charles Darnay, a French once-aristocrat who falls victim to the indiscriminate wrath of the revolution despite his virtuous nature, and Sydney Carton, a dissipated English barrister who endeavours to redeem his ill-spent life out of love for Darnay's wife, Lucie Manette.
Purl and stitch: Empowering, healing, and reconnecting us to each other and ourselves In a fractured world plagued by anxiety and loneliness, knitting is coming to the rescue of people from all walks of life. Economist and lifelong knitter Loretta Napoleoni unveils the hidden power of the purl and stitch mantra: an essential tool for the survival of our species, a means for women to influence history, a soothing activity to calm us, and a powerful metaphor of life. This book is a voyage through our history following the yarn of social, economic and political changes - from ancient Egypt and Peru to modern Mongolia, from the spinning bees of the American Revolution to the knitting spies of World War II, and from the hippies' rejection of consumerism to yarnbombing protests against climate change. For the author it is also a personal journey of discovery and salvation, drawing on the wisdom her grandmother passed along as they knit together. Revealing recent discoveries in neuroscience, The Power of Knitting offers proof of the healing powers of knitting on our bodies and minds. Breaking through societal barriers, even nursing broken hearts, and helping to advance cutting-edge science, knitting is still a valuable instrument for navigating our daily lives. As a bonus, the book includes patterns for ten simple yet iconic projects that reflect the creative, empowering spirit of knitting, with complete instructions.
When Santa is sleighed by a poison gingerbread cookie at a holiday party, Val Deniston's reputation is on the line . . . This holiday season Bayport, Maryland, is a dead ringer for Victorian London. Val and her grandfather are taking part in the Dickens of a Holiday festival. Val is hosting a private tea party serving the festival's costumed volunteers, who range from Dickens divas like Madame Defarge and Miss Havisham to Ebenezer Scrooge and old St. Nick himself. But one costumed reveler may have gotten the holidays mixed up. The winner of the creepiest outfit, robed in black with a gift bag covering the head—okay, Ghost of Christmas Present, Val gets it—hands out gingerbread men with white icing skeleton bones. This year's sour Santa has none of the big fellow's mirth but plenty of his appetite, and it's no secret Santa loves cookies. But when the man in red turns blue, Val and Granddad have a cookie-cutter killer to catch before the New Year . . . Includes delicious five-ingredient recipes! PRAISE FOR CRYPT SUZETTE “Grandad is a hoot and his jobs as a food reviewer and part-time detective provide endless possibilities for fun and murder . . . Charming.” —Kirkus Reviews
Beginning with a discussion of familiar images of the French Revolution, this work looks at how the ancien régime became ancien as well as examining cases in which achievement failed to match ambition.
What if we didn't always historicize when we read Victorian fiction? Lost Causes shows that Victorian writers frequently appear to have a more supple and interesting understanding of the relationship between history, causality, and narrative than the one typically offered by readers who are burdened by the new historicism. As a return to these writers emphasizes, the press of modern historicism deforms Victorian novels, encouraging us to read deviations from strict historical accuracy as ideological bad faith. By contrast, Jason B. Jones argues through readings of works ranging from The French Revolution to Middlemarch that literature's engagement with history has to be read otherwise. Perhaps perversely, Lost Causes suggests simultaneously that psychoanalysis speaks pressingly to the vexed relationship between history and narrative, and that the theory is neither a- nor anti-historical. Through his readings of Victorian fiction addressing the recent past, Jones finds in psychoanalysis not a set of truths, but rather a method for rhetorical reading, ultimately revealing how its troubled account of psychic causality can help us follow literary language's representation of the real. Victorian narratives of the recent past and psychoanalytic interpretation share a fascination with effects that persist despite baffling, inexplicable, or absent causes. In chapters focusing on Thomas Carlyle, Charles Dickens, Charlotte Brontë, and George Eliot, Lost Causes demonstrates that history can carry an ontological, as well as an epistemological, charge--one that suggests a condition of being in the world as well as a way of knowing the world as it really is. From this point of view, Victorian fiction that addresses the recent past is not a failed realism, as it is so frequently claimed, but rather an exploration of possibility in history.