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"The pleasure he experienced in severely whipping the bound down girl on her tenderest spots far exceeded anything to be derived from mere ordinary sexual enjoyment of the young lady. He had made the startling discovery that despotic chastisements of pretty girls stripped naked and fastened tight confer a far higher flight of rapture than mere ordinary physical enjoyment of the same girl however pretty and tempting she may be; and having made this discovery, he settled down to its fullest tuition." Before Gladys was a mistress she was a Miss and was the first of many young ladies to be subjected to our protagonist's extremely lascivious tastes. For the most minor indiscretions she experienced the profoundest of birchings and whippings, awakening within her a lust parallel to the one who wielded rod against her soft nubile flesh. When Gladys crosses the Atlantic to establish a boarding school for only the physically finest and visually appealing young women of North America, she cannot resist but invite Mr. Howard, her old friend and tutor, to dispel some good old Victorian discipline. Installing small hatches in each of the ceilings of the 150 student bedrooms, our Mistress is ever ready to catch any of the nymphets who are want to indulge in a spot of impromptu sapphism. But are they ready for Mr. Howard's brand of Sadian chastisement? In this prequel to The Amazing Chastisements of Miss Bostock we discover how Mr. Howard developed his very singular proclivity for all things flagellatory, and his burgeoning and educational relationship that developed with Miss Gladys, his future partner in crime. Three Chapters in the Life of Mr. Howard, secured by the agents of the infamous publisher Charles Carrington while exiled in Paris and pseudonymously written in 1908 by the author of Maud Cameron and Her Guardian, The Two Lascivious Adventures of Mr Howard, Fantastic Chastisements, and in the same uncompromisingly Sadian vein as The Pleasures of Cruelty and Experimental Lecture (all also available from Locus Elm Press), is a fine example of Victorian flagellation erotica, replete with licentiously graphic prose of all deeds and devices bound and unbound.
Not since Betty Eadie’s Embraced by the Light has a personal account of a Near-Death Experience (NDE) been so utterly different from most others—or nearly as compelling. "This is a book you devour from cover to cover, and pass on to others. This is a book you will quote in your daily conversation. Storm was meant to write it and we were meant to read it." —from the foreword by Anne Rice In the thirty years since Raymond Moody’s Life After Life appeared, a familiar pattern of NDEs has emerged: suddenly floating over one’s own body, usually in a hospital setting, then a sudden hurtling through a tunnel of light toward a presence of love. Not so in Howard Storm’s case. Storm, an avowed atheist, was awaiting emergency surgery when he realized that he was at death’s door. Storm found himself out of his own body, looking down on the hospital room scene below. Next, rather than going “toward the light,” he found himself being torturously dragged to excruciating realms of darkness and death, where he was physically assaulted by monstrous beings of evil. His description of his pure terror and torture is unnerving in its utter originality and convincing detail. Finally, drawn away from death and transported to the realm of heaven, Storm met angelic beings as well as the God of Creation. In this fascinating account, Storm tells of his “life review,” his conversation with God, even answers to age-old questions such as why the Holocaust was allowed to take place. Storm was sent back to his body with a new knowledge of the purpose of life here on earth. This book is his message of hope.
“…Lyall’s debut is a winner.” —Publishers Weekly “What’s with the get-up? Is that the company uniform or something?” “This? All P.I.s wear a trench coat.” “Dude, that’s a brown bathrobe.” I shrugged and straightened out my sleeves. “First rule of private investigation, Ivy: work with what you’ve got.” Twelve-year-old Howard Wallace lives by his list of rules of private investigation. He knows more than anyone how to work with what he’s got: a bathrobe for a trench coat, a makeshift office behind the school equipment shed, and not much else—least of all, friends. So when a hot case of blackmail lands on his desk, he’s ready to take it on himself . . . until the new kid, Ivy Mason, convinces him to take her on as a junior partner. As they banter through stakeouts and narrow down their list of suspects, Howard starts to wonder if having Ivy as a sidekick—and a friend—is such a bad thing after all. Named a Book Riot middle-grade book for the summer with special recommendation for reluctant readers! Winner of the Red Cedar Book Award for Fiction!
John Howard's curiosity about prisons goes without saying, as his own writings show, including his iconic The State of the Prisons in England and Wales. As a self-appointed inspector of prisons - and the first to carry out such a task - Howard would knock on the door of penal establishments, mostly unannounced or uninvited. Once inside, he would observe, listen, and make copious records of events behind prison walls. John Howard (1726-1790) was a curious individual altogether: restless, eccentric, and, above all, singular. Forever concerned with minutiae, not without friends, but lacking close social contacts, the workaholic Howard frequently travelled alone and in dangerous places for months on end. Always restless and forever retracing his steps, he was equally at home in foreign countries as he was pursuing his carefully planned routines in and around Cambridge and London. A perfectionist wherever he went, Howard brought his influence, genius, and reputation to bear, seeking to imp
Reading Paul Howard: The Art of Ross O’Carroll Kelly offers a thorough examination of narrative devices, satirical modes, cultural context and humour, in Howard’s texts. The volume argues that his academic critical neglect is due to a classic bifurcation in Irish Studies between high and popular culture, and will use the thought of Pierre Bourdieu, Sigmund Freud, Mikhail Bakhtin and Jacques Derrida to critique this division, building a theoretical platform from which to examine the significance of Howard’s work as an Irish comic and satirical writer. Addressing both the style and the substance of his work, this text locates him in a tradition of Irish satirical writing that dates back to the Gaelic bards, and includes writers like Swift, Wilde, Flann O’Brien and Joyce. Through textual and contextual analysis, this book makes the case for Howard as a significant and original voice in Irish writing, whose fusion of the three traditional types of satire (Horatian, Juvenalian and Menippean), has created a parallel Ireland that shines a satirical light on its real counterpart. As Freud suggests, humour is a way of accessing aspects of the psyche that normative discourses cannot enunciate, and Howard, through the confessional voice of Ross, offers a fictive truth on twenty years of Irish society, a truth that is not accessed by discourse in the public sphere or by what could be termed literary or high cultural fiction.