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This collection opens with a wry elegy for three fellow Scots poets, it remembers other teachers and precursors and revisits scenes of Dunn's earliest poems. Dunn focuses on conundrums of solitude, and the solidarity of the dreaming man in a wider world.
'A touching exploration of passion untested by domesticity' Mail on Sunday Before Isabelle I knew nothing of sex. Before Isabelle I knew nothing of freedom. Before Isabelle I knew nothing of life. Paris in the early Seventies. Sam, an American student, meets a woman in a bookshop. Isabelle is enigmatic, beautiful, older and, unlike Sam, experienced in love's many contradictions. Sam is instantly smitten - but wary of the wedding ring on her finger. What begins as a regular arrangement in Isabelle’s tiny Parisian apartment transforms into a true affair of the heart, and one which lasts for decades to come. Isabelle in the Afternoon is a novel that questions what we seek, what we find, what we settle for - and shows how love, when not lived day in, day out, can become the passion of a lifetime. Praise for Douglas Kennedy ‘The absolute master of love stories with heart-stopping twists’ THE TIMES ‘Kennedy is skilled at zigzag plotting, blending domestic twists with turns created by global affairs’ OBSERVER
A social comedy about "a company of giddyheads" and their wanderings in London's Bohemia.
Afternoon Tea: A History explores the development of the afternoon tea meal, diving deeper than the popular tale of the Duchess of Bedford’s afternoon gatherings to find the meals that inspired those early afternoon teas. Julia Skinner carefully separates the fact and lore around the meal and sets the story of afternoon tea within its historic contexts. Recognizing that a meal’s birth and life never happen in a vacuum, the book sets aside the already well-documented conversations surrounding tea etiquette, instead exploring the social contexts that made the meal possible and popular, moving it from one small subset of the population to a widespread and beloved phenomenon, one that nearly died out at the end of the 20th century before experiencing a resurgence in the 21st. Afternoon tea is a meal that came of age during the British Empire’s most aggressive expansion, and as such became a meal that was transported to new continents with colonial forces. The book explores how this movement took place and uncovers the different ways tea and colonialism intersect in both the colonial and postcolonial worlds. It also looks at afternoon tea in America, a country that broke from the Empire before the meal was established as a set ritual, but which still has its own complex relationship with the beverage and a continuing fascination with the meal. The book concludes by looking at afternoon tea today, including a handful of interviews that show the range of perspectives about the meal and its place in society, as well as its resurging popularity in the last decade.
In “this enchanting story about friendship,” two fourth grade girls discover a magical world hidden in one’s backyard (Publishers Weekly). No fourth grader trusts Sara-Kate Connolly. Her boots are dirty, her clothes are weird, and she’s so maladjusted that the school had to hold her back a grade. But Hillary is her next-door neighbor, and can’t say no when the unusual loner invites her over to play. In Sara-Kate’s overgrown backyard, Hillary will find proof of a world of magic—the kind that can only blossom between true friends. Among the rusted car parts and wild plants, a miniature village has sprung up. It has tiny houses made from string, sticks, and maple leaves; a well with a bottlecap for a bucket; and even a little playground with a Popsicle-stick Ferris wheel. But there’s absolutely no sign of who built this miniature world. To Sara-Kate, the answer is clear—only elves could be responsible for something so enchanted. As she and Hillary watch for their elusive new friends, they learn that friendship, like magic, springs up where you least expect it. This ebook features a personal history by Janet Taylor Lisle including rare images and never-before-seen documents from the author’s own collection.
During its more than four decades in the ABC daytime lineup, "One Life to Live" told countless stories, from sensational adventures to thoughtful social commentary. But the tales that went untold -- the experiences of the writers, producers, cast and crew behind the scenes -- are just as fascinating as any kidnapping, baby switch, or courtroom confession. Today, network soaps are struggling for survival against cheaper-to-produce talk shows and reality series, but their cultural impact resonates more strongly than ever -- and a tribute to the work that goes into producing them is long overdue. To that end, "Llanview in the Afternoon: An Oral History of One Life to Live" focuses on some of the most unique aspects of working on a five-day-a-week television series -- from the actors, who had to deal with the daytime stigma and the psychology of living so intimately with their characters for extended periods of time, to the crew, who produced scripts and episodes at a blistering pace while working with a dwindling pool of network resources. Featuring interviews with more than 50 "One Life to Live" veterans, including Erika Slezak, Robin Strasser, Robert S. Woods, Hilary B. Smith, Ilene Kristen, Kassie DePaiva, Michael Storm, Judith Light, and Nathan Fillion -- plus many more -- "Llanview in the Afternoon: An Oral History of One Life to Live" offers readers a one-of-a-kind perspective on one of television's longest-running shows.
However, these contemporary accounts are frequently amplified and put into modern perspective, particularly at crucial moments such as a major production, a final production, or a death. The authors have particularly done so with writers of some importance such as Edward Martyn, William Boyle, or T.C. Murray. Since the theater of these years was especially influenced by the state of the country, the authors give considerable space to the disruptive political events of the times. Always, however, this is done from the particular vantage point of the theater and its workers, for the Irish theater vigorously reacted to and quickly assimilated the turbulent political events of the day: the raids, the reprisals, the burnings, and the murders. These 1,800 days really break into two periods. The first comprises the violence of the Black and Tan War, the exhaustion that led to the treaty, and the bitterness occasioned by the treaty that led to the culminating ferocity of the civil war.