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A novel of redemption from the author of Just Plain Sadie. “Fans of inspirational romance will appreciate Lillard’s vivid characters and positive message.”—Publishers Weekly In Wells Landing, Oklahoma’s warm and welcoming Amish community, there’s always hope for a new beginning—and a second chance . . . Five tumultuous years have changed Titus Lambert in every way. Back then, Titus was preparing to marry his longtime sweetheart, Mandy Yoder. Then came the unthinkable—a tragic car wreck that left Titus serving time for vehicular manslaughter. Titus isn’t sure he belongs in this peaceful place anymore, but he must make amends. When he goes to visit the Kings, whose son, Alvin, died that terrible night, he’s shocked to see that their farm has fallen into disrepair. Alvin’s sister, Abbie, resents Titus’s reappearance, but there’s no denying she needs his help. Honest toil—and their evolving friendship—slowly help his soul to heal. But with his feelings for Mandy still strong, Titus must choose between two very different futures, and find the strength and faith to claim the surprising gift of a fresh start. Praise for the Wells Landing Romances “[A] sweetly inspirational contemporary love story . . . Rich with the trappings of Amish culture and tradition, the novel informs as well as entertains.”—Publishers Weekly “An inspirational story of romance, faith, and trust . . . will appeal to fans of Wanda Brunstetter and Beverly Lewis.”—Library Journal “Amy Lillard writes her Amish stories with the respect they are due.”—RT Book Reviews
By extending Gilles Deleuze's philosophy through diverse literary tracts, this book develops an account of what it means to be different and enters important contemporary debates about identity and the nature of solitude. At the same time, the book elaborates a limited philosophy. From unusual writings and rare human experiences, James Brusseau forges compelling understandings that scrupulously preserve his subjects' irregularities. The resulting philosophic narrative remains strictly localized; it elucidates narrow bands of experience and refuses broadening generalizations. The book's first section rigorously elaborates Deleuze's pioneering notion of difference. The second part conceives certain individuals as embodying difference and then employs the conception to elude difficulties blocking recent work on subjectivity. Part three combines insights from the first two parts with Isabelle Eberhardt's North African travel journals. In Eberhardt, Brusseau finds sexualities and a solitude that only Deleuze's unique notion of difference can explain. An energetic interaction between philosophy and literature drives this book. Brusseau weaves back and forth between the genres, engaging diverse literatures not only to embody but also to refine his philosophic positions. The literary authors he discusses range from Shakespeare and Fitzgerald to Borges, Bataille, and Eberhardt.
Love stories yet to happen, in a future filled with surprises. Who is the amorous stranger, Titus, who materialises in young Grace's bedroom? Can she believe he is who he says he is? For her parents, Franklin and Martha, does love everlasting still hold true if death is postponed indefinitely? Can lawyer Lorraine, who prides herself on her infallibility, have finally discovered the ideal partner, one who is also never wrong? Will lonely secretary Sylvia, after unhappy affairs with everyone from deep sea divers to space shuttle pilots, ever find her Mr Right? A comedy with its head in the future and its heart in the past, Alan Ayckbourn's Surprises premiered in July 2012 at the Stephen Joseph Theatre, Scarborough, in a co-production with Chichester Festival Theatre.
Studies of the republican legacy have proliferated in recent years, always to argue for a polity that cultivates the virtues, protections, and entitlements which foster the self's ability to simulate an invulnerable existence. James Kuzner's original new study of writing by Spenser, Shakespeare, Marvell and Milton is the first to present a genealogy for the modern self in which its republican origins can be understood far more radically. In doing so, the study is also the first to draw radical and republican thought into sustained conversation, and to locate a republic for which vulnerability is, unexpectedly, as much what community has to offer as it is what community guards against. At a time when the drive to safeguard citizens has gathered enough momentum to justify almost any state action, Open Subjects questions whether vulnerability is the evil we so often believe it to be.
This book grew out of the author's wish to go beyond a formal definition of fantasy to discover a basic urge and interest common to the genre. He finds this urge to be the celebration of identity. Fantasy is ultimately concerned to heighten and praise being, whether that being is God's creation, the world, or the creations of the fantasy writer themselves. This interest can take the form of direct eulogy or of more unconscious fascination. It is seen in fantasy's conservatism and its frequently elegiac mode, and is demonstrated through its formal characteristics such as circular structure and the use of juxtaposition to heighten individuality. It is more overtly present in modern than in pre-1800 fantasy, partly because modern fantasy developed as a Romantic reaction against technology and everything that reduced direct contact between people and the environment. These aspects of fantasy are illustrated from detailed discussion of the tales of Grimm, Walter de la Mare's Told Again, W. M. Thackeray's The Rose and the Ring, Charles Williams's prose fantasies, Ursula le Guin's Earthsea trilogy, E. Nesbit's magic books, George MacDonald's Phantastes and Lilith, T. H. White's The Once and Future King, Mervyn Peake's Gormenghast novels, William Morris's late romances, Lord Dunsany's The King of Elfland's Daughter, E. R. Eddison's The Worm Ouroboros, and Peter Beagle's The Last Unicorn. Together these authors and works provide a cross-section of what is a fundamentally panegyric genre demonstrating its variety, its strengths, and its limitations.
While fame is always admired by everyone, it can prove to be quite a struggle. There is always a mountain to climb, and there is always a rock to break. People expect great things of you. It is not an easy life to live. That struggle faces Eliot, a warrior and solider in thirteenth-century Britain, as he begins to achieve greatness. He encounters the rigors of life and still manages to stand upright in the face of trials and tribulations. What a glorious honour for a mighty man of valour!
Publisher Description (unedited publisher data) Shakespeare's history plays have been performed more in recent years than ever before, in Britain, North America, and in Europe. This volume provides an accessible, wide-ranging and informed introduction to Shakespeare's history and Roman plays. It is attentive throughout to the plays as they have been performed over the centuries since they were written. The first part offers accounts of the genre of the history play, of Renaissance historiography, of pageants and masques, and of women's roles, as well as comparisons with history plays in Spain and the Netherlands. Chapters in the second part look at individual plays as well as other Shakespearean texts which are closely related to the histories. The Companion offers a full bibliography, genealogical tables, and a list of principal and recurrent characters. It is a comprehensive guide for students, researchers and theatre-goers alike.