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Already excerpted in the New Yorker, Black Cloud Rising is a compelling and important historical novel that takes us back to an extraordinary moment when enslaved men and women were shedding their bonds and embracing freedom By fall of 1863, Union forces had taken control of Tidewater Virginia, and established a toehold in eastern North Carolina, including along the Outer Banks. Thousands of freed slaves and runaways flooded the Union lines, but Confederate irregulars still roamed the region. In December, the newly formed African Brigade, a unit of these former slaves led by General Edward Augustus Wild—a one-armed, impassioned Abolitionist—set out from Portsmouth to hunt down the rebel guerillas and extinguish the threat. From this little-known historical episode comes Black Cloud Rising, a dramatic, moving account of these soldiers—men who only weeks earlier had been enslaved, but were now Union infantrymen setting out to fight their former owners. At the heart of the narrative is Sergeant Richard Etheridge, the son of a slave and her master, raised with some privileges but constantly reminded of his place. Deeply conflicted about his past, Richard is eager to show himself to be a credit to his race. As the African Brigade conducts raids through the areas occupied by the Confederate Partisan Rangers, he and his comrades recognize that they are fighting for more than territory. Wild’s mission is to prove that his troops can be trusted as soldiers in combat. And because many of the men have fled from the very plantations in their path, each raid is also an opportunity to free loved ones left behind. For Richard, this means the possibility of reuniting with Fanny, the woman he hopes to marry one day. With powerful depictions of the bonds formed between fighting men and heartrending scenes of sacrifice and courage, Black Cloud Rising offers a compelling and nuanced portrait of enslaved men and women crossing the threshold to freedom.
In the fourth and final installment of David Downing’s spy series, Jack McColl is sent to Soviet Russia, where the civil war is coming to an end. The Bolsheviks have won but the country is in ruins. With the hopes engendered by the revolution hanging by a thread, plots and betrayals abound. London, 1921: Ex–Secret Service spy Jack McColl is in prison serving time for assaulting a cop. McColl has been embittered by the Great War; he feels betrayed by the country that had sent so many young men to die needlessly. He can’t stomach spying for the British Empire anymore. He’s also heartbroken. The love of his life, radical journalist Caitlin Hanley, parted ways with him three years earlier so she could offer her services to the Communist revolution in Moscow. Then his former Secret Service boss offers McColl the chance to escape his jail sentence if he takes a dangerous and unofficial assignment in Russia, where McColl is already a wanted man. He would be spying on other spies, sniffing out the truth about MI5 meddling in a high-profile assassination plot. The target is someone McColl cares about and respects. The MI5 agent involved is someone he loathes. With the knowledge that he may be walking into a death trap, McColl sets out for Moscow, the scene of his last heartbreak. Little does he know that his mission will throw him back into Caitlin’s life—or that her husband will be one of the men he is trying to hunt down.
Vol. 12 (from May 1876 to May 1877) includes: Researches in telephony / by A. Graham Bell.
"Eric Drake, a powerful Dark Wolf, has never trusted himself around human females, preferring to mate only within his pack. That is, until he encounters Chelsea Smart snooping around Silvercrest pack land in search of her missing sister. Secretly, Chelsea thinks Eric is the sexiest man she's ever seen, though she is wary of his potent Alpha energy. Then it's discovered that Chelsea's sister is being held by a pack of vicious Lycans, and Eric heroically leaps into action. Now, Chelsea will risk everything--her body and soul--to surrender to the passion that will mark her as Eric's woman for all eternity...if they survive."-- P. [4] of cover.
During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres. These plays mixed sentimental moments and comic interludes of domestic melodrama with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain’s promulgation of imperial ideology — and its role in constructing and maintaining class, gender, and racial identities — have given discussions of melodrama force and momentum. The plays included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays’ nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices — acting, audiences, staging, lighting, special effects — are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further.