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In 1868, Renee Devereux is shipped to California so that she can change her destiny. Hiding the facts of her birth, her benefactor arranges to place her with a distance relative who owns a vast Spanish rancho. She becomes embroiled in Spanish traditions, arranged marriages, killings and subterfuge. Soon hate, murder, old traditions and Spanish pride take their toll on her gentle, sweet soul before she discovers just how much she needs the one person, who not only understands her but loves her unconditionally.
It was 1939war was on the horizon and many dangerous people lurked in the shadows plotting to damage America. Government agents were fighting across the country to bring down these enemy spies. When Katelynn Collins woke from a coma, she had no memoriesher mind was a clean slate. Haunted by her dreams, she fought hard to recall her past life. As her memory began to return, she found herself in middle of an espionage ringconfused, disoriented, and frightened. Until she could replace her present with her past, she did not know which side she was on.
In this book, the author argues that certain modern literary texts have apocalyptic futures. Rather than claim that great writers have clairvoyant powers, he examines the ways in which a text incorporates an apocalyptic event into its future reception. He is thus concerned with the way in which apocalyptic works solicit their future receptions. Apocalyptic Futures also sets out to articulate a new theory and textual practice of the relation between literary reception and embodiment. Deploying the double register of “marks” to show how a text both codes and targets mutilated bodies, the author focuses on how these bodies are incorporated into texts by Kafka, Conrad, Coetzee, and Spiegelman. Situating “In the Penal Colony” in relation to the Holocaust, Heart of Darkness to the Rwandan genocide, and Waiting for the Barbarians to the revelations of torture in apartheid South Africa and contemporary Iraq, the author argues for the ethical and political importance of reading these literary works’ “apocalyptic futures” in our own urgent and perilous situations. The book concludes with a reading of Spiegelman's Maus that offers a messianic counter-time to the law of apocalyptic incorporation.
A young couple's toxic Instagram crush spins out of control and unleashes a sinister creature in this twisted, viciously funny, "bananas good" story (Carmen Maria Machado). "Um, holy shit...This novel will be the most fun you'll have this summer." —Emily Temple, Literary Hub Remy and Alicia, a couple of insecure service workers, are not particularly happy together. But they are bound by a shared obsession with Jen, a beautiful former co-worker of Remy’s who now seems to be following her bliss as a globe-trotting jewelry designer. In and outside the bedroom, Remy and Alicia's entire relationship revolves around fantasies of Jen, whose every Instagram caption, outfit, and new age mantra they know by heart. Imagine their confused excitement when they run into Jen, in the flesh, and she invites them on a surfing trip to the Hamptons with her wealthy boyfriend and their group. Once there, Remy and Alicia try (a little too hard) to fit into Jen’s exalted social circle, but violent desire and class resentment bubble beneath the surface of this beachside paradise, threatening to erupt. As small disturbances escalate into outright horror, we find ourselves tumbling with Remy and Alicia into an uncanny alternate reality, one shaped by their most unspeakable, deviant, and intoxicating fantasies. Is this what “self-actualization” looks like? Part millennial social comedy, part psychedelic horror, and all wildly entertaining, A Touch of Jen is a sly, unflinching examination of the hidden drives that lurk just outside the frame of our carefully curated selves.
Who gets to choose? When a young woman emerges from a lengthy coma-like state she must face the decisions that were made about her body—without her consent—in this powerful novel of reclamation and hope. Twenty-one-year-old Mallie Williams—scrappy, headstrong, and wise beyond her years—has just landed on her feet following a tumultuous youth when the unthinkable happens: she is violently assaulted. The crime leaves her comatose, surrounded by friends and family who are hoping against hopes for a full recovery. But soon Mallie's small community finds themselves divided. The rape has left Mallie pregnant, and while some friends are convinced that she would never keep the pregnancy, others are sure that a baby would be the only good thing to come out of all of this pain. Who gets to decide? How much power, in the end, do we have over our own bodies? Mallie, her family, and her town find themselves at the center of a media storm, confronting questions nobody should have to face. And when Mallie emerges from the fog, what will she think of the choices that were made on her behalf? The Opposite of Fate is an intense and moving exploration of the decisions we make—and don’t make—that forever change the course of our lives.
The most lauded playwright in American history, Eugene O'Neill (1888-1953) won four Pulitzer Prizes and a Nobel Prize for a body of work that includes The Iceman Cometh, Mourning Becomes Electra, Desire Under the Elms, and Long Day's Journey into Night. His life, the direct source for so much of his art, was one of personal tumult from the very beginning. The son of a famous actor and a quiet, morphine-addicted mother, O'Neill had experienced alcoholism, a collapse of his health, and bouts of mania while still a young man. Based on years of extensive research and access to previously untapped sources, Sheaffer's authoritative biography examines how the pain of O'Neill's childhood fed his desire to write dramas and affected his artistically successful and emotionally disastrous life.