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My book tells a story about a mom who didn’t have time for me, didn’t want me, and didn’t teach me how to talk. Singers on the radio taught me.
A dialogue devoted to remembering genocide's past and preventing its future
"Now with a new afterword by the author"--Back cover.
When Jack took Kendra out to lunch, he bought a new tie for the occasion...he never buys a new tie to take me out to lunch. Jack, a wealthy businessman in Washington DC, seems to have it all. He's used to getting what he wants, but appearances can be deceiving. I squealed with delight at two expensive theater tickets. 'For you and a friend, ' Jack told me. I found myself answering, 'Well, you're my friend, aren't you?' Jack weaves a tangled web when Kendra re-enters his life. With mounting pressure at home and the office, will his behavior become more erratic? I'm feeling downhearted; her visit makes me realize how empty our lives are without the children. Doesn't he realize there's something wrong with me! I said, 'Jack, we need to talk, ' but he hardly looked up. Meanwhile, Grace, Jack's privileged socialite wife, deals with life's calamities, increasingly, alone. Grown-up children leaving home and a mysterious health ailment creeping ever closer, erode the stability of her world. In the temporary apartment, we'll be living out of suitcases...fun for the children...stressful for me. I thought Jack was happily married. What's got into him? I wonder what it's like to be married to Jack. As Kendra struggles financially, will the impoverished teacher's answer lie in destroying another woman's family? How can her children have the home and education they need if something doesn't change in her life? Driven by fear and self-preservation to make life altering decisions, Grace and Kendra pour their energies and hearts into their dairies. When the final words are written, will they both see It's All about Jack?
Beautiful Lady Rose, the fiercely independent mistress of Somerford Manor, fears she may lose her home to roving raiders. As a lone woman—in a man’s world—asking for help from her Liege Lord, so instead, she reluctantly hires a bold Viking warrior, Gunnar Olafson, and his mercenaries to protect her undefended lands and people. Strong, muscular, and intense Gunnar takes her breath away, but she dares not trust him, especially when she barely trusts herself! Gunnar is not what he seems. Posing as a hired soldier, he is duty-bound to expose Rose, whose actions have been seen as traitorous. Somerford is to be his reward. Gunnar quickly realizes Rose is the true prize. Now he’s trapped between his duty and his desire, revealing his deception to the woman who’s stolen his heart. “Sara Bennett is one of today’s most gifted romance writers. She writes with passion and truly gets into the ‘heads’ of her characters making them come to life for all of us to enjoy.”—Joyfully Reviewed “Bennett gets this true-to-life tale of medieval life exactly right.”—Romantic Times
Jan-Melissa Schramm explores the conflicted attitude of the Victorian novel to sacrifice, and the act of substitution on which it depends. The Christian idea of redemption celebrated the suffering of the innocent: to embrace a life of metaphorical self-sacrifice was to follow in the footsteps of Christ's literal Passion. Moreover, the ethical agenda of fiction relied on the expansion of sympathy which imaginative substitution was seen to encourage. But Victorian criminal law sought to calibrate punishment and culpability as it repudiated archaic models of sacrifice that scapegoated the innocent. The tension between these models is registered creatively in the fiction of novelists such as Dickens, Gaskell and Eliot, at a time when acts of Chartist protest, national sacrifices made during the Crimean War, and the extension of the franchise combined to call into question what it means for one man to 'stand for', and perhaps even 'die for', another.
In The Threshold of the Visible World Kaja Silverman advances a revolutionary new political aesthetic, exploring the possibilities for looking beyond the restrictive mandates of the self, and the normative aspects of the cultural image-repertoire. She provides a detailed account of the social and psychic forces which constrain us to look and identify in normative ways, and the violence which that normativity implies.
A longitudinal study of how older people maintain a sense of self and meaning despite the losses associated with ageing.