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Sinead Quinn has always been something of a drifter. But now, with her ex-husband trying to blackmail her, and her ex-boyfriend's widow trying to put her in jail, she has no choice but to go to ground. What better place to hide than with your family? After all, what are sisters for? Especially when you're a twin. ​ But the first rule of hiding out, is to keep a low profile. And that does not mean kissing your sister's boyfriend (even if he can't tell the two of you apart); rescuing a troubled teen; or taking a highly visible job as hostess of Oberon's most celebrated new inn. Adam Sasso has always dreamed big. But big dreams beget big complications. First, his goal to turn the vineyard he inherited from his grandfather into a world-class winery is threatened by a mysterious saboteur. Next, his plan to run the finest bed & breakfast Oberon has ever seen, is broadsided by a hostess who wants to run him. Finally, it seems his fondest wish, of finding love-everlasting with the soul mate of his dreams, is about to go up in smoke when he can't convince her that they're destined to be together. This summer, it's going to take all the wizardry in Oberon to craft a happy ending for the drifter and the dreamer.
Solomon Mangham was born in about 1755 in North Carolina. His parents were William Mangham, Sr. and Mary Persons. He married Sarah Ann Bennett. They had seven children and lived near Gilkey's Creek, South Carolina. In about 1790 they moved to Wilkes County, Georgia. Thirty-seven of their Mangham descendants fought in the Confederate Army. Descendants and relatives lived mainly in Georgia, Alabama, Tennessee, Louisiana and Texas.
Reproduction of the original: A Vanished Hand by Sarah Doudney
What is form? Why does form matter? In this imaginative and ambitious study, Angela Leighton assesses not only the legacy of Victorian aestheticism, and its richly resourceful keyword, 'form', but also the very nature of the literary. She shows how writers, for two centuries and more, have returned to the idea of form as something which contains the secret of art itself. She tracks the development of the word from the Romantics to contemporary poets, and offers close readings of, among others, Tennyson, Pater, Woolf, Yeats, Stevens, and Plath, to show how form has provided the single most important way of accounting for the movements of literary language itself. She investigates, for instance, the old debate of form and content, of form as music or sound-shape, as the ghostly dynamic and dynamics of a text, as well as its long association with the aestheticist principle of being 'for nothing'. In a wide-ranging and inventive argument, she suggests that form is the key to the pleasure of the literary text, and that that pleasure is part of what literary criticism itself needs to answer and convey.
List of members in v.1-19, 21, 24-