Who has co-opted the American Dream? The Right? The Left? It may not be who you think it is. Republican vs. Democrat The Haves vs. the Have Nots Left vs. Right Us vs. Them We believe these are the divisions that are threatening to tear America apart. But what if the culprit isn't a political ideology or a class of people but a puppet master? He's been manipulating us for centuries–and now he’s brought us to the brink of implosion. It would take a special kind of sinister to hatch such a nefarious plot against our civilization. Who, or what, would be capable of such a conspiracy? All there is to go on is the cryptic message: You’ll never guess my name.
a nefarious plot
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Almost every writer has a pathological predisposition to procrastination and often believe there is a magical answer to the question ‘where do you get your ideas?’. Well now, whether you write Twitfic, Microfiction, Flash Fiction, Short Short Stories, Short Stories, Novelettes, Novellas, Novels or Scripts you can tell everyone that you get your ideas here. This is a prompts book. Oh yes. But it's a prompts book with a BIG difference. The prompts in this book aren't the usual, run-of-the-mill, mind numbingly boring prompts you usually get. Oh, no. Not here. And this is not the sort of book that's just going to give you a prompt and expect you to know what to do with it. No matter what form your writing takes, this book will show you an easy way to get the ideas out of your brain and transformed into stories. How? Well that's the easy part - firstly there's Mr Maxwell's Spectacular Story Suggester. A simple method of taking whichever prompt you choose and getting it straight into the easiest possible form so you can get to the important part - writing the story. There is, of course, more. The author has taken a prompt and written a Flash Fiction story from it and then explained exactly how he did it. Then Adrian Graham, a prolific microfiction author whose ebooks have been downloaded over 120 thousand times has written some exquisite stories and explained how to create micro-magic from the prompts Next Rosalind Wyllie, a tremendous playwright whose plays have been performed up and down the country by fine companies of players (including the RSC) has penned a short script and taken time from her busy schedule to describe how she weaved her magic. And last but by no means least the fantastic Y.A. author Mr C.G. Allan has written a children's short story and then explained just how it went from prompt to print. By the time you've inhaled this book you mind will be an overflowing well of wonderful ideas and even better - you'll know what to do with them.
Word Workout is a practical book for building vocabulary—a graduated program featuring thousands of words that begins with those known by most college graduates and ascends to words known only by the most educated, intelligent, and well-read adults. This workout is a comprehensive program, chock-full of information about synonyms, antonyms, and word origins, and replete with advice on proper usage and pronunciation. There are also creative review quizzes at each step of the way to measure your progress and reinforce learning. Unlike other vocabulary books, Word Workout provides a complete learning experience with clear explanations and surefire methods to retain new knowledge. Far more than a cram session for a standardized test, this book is designed as a lifetime vocabulary builder, featuring words used by the top tier of literate Americans, laid out in ten accessible chapters designed for anyone who is looking for some serious verbal exercise. From "avowal" to "proselytize," from "demagogue" to "mendicant," Charles Harrington Elster has carefully picked the words you need to know, and given you an easy, fast, and fail-safe way to learn and remember them.
One of the few case studies of undocumented immigrants available, this insightful anthropological analysis humanizes a group of people too often reduced to statistics and stereotypes. The hardships of Hispanic migration are conveyed in the immigrants' own voices while the author's voice raises questions about power, stereotypes, settlement, and incorporation into American society. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
We Must Have Certainty surveys 160 years of the development of the genre (1841-2001) and then suggests some ways in which the genre and its development reflect some of the issues that have concerned writers and readers in America and Europe during that period. In particular, it examines the special nature of the world in which the fictional detective operates: a world constructed always to yield certain truth to the person who can read its signs correctly. The nature of these signs evolves with the genre, but while the surfaces of the world may change (from, for example, the Arcadian rhythms of a country house to the cacophony of the mean streets), what really happens in the world is always detectable.
Originating as a radio series in 1933, the Lone Ranger is a cross-media star who has appeared in comic strips, comic books, adult and juvenile novels, feature films and serials, clothing, games, toys, home furnishings, and many other consumer products. In his prime, he rivaled Mickey Mouse as one of the most successfully licensed and merchandised children's properties in the United States, while in more recent decades, the Lone Ranger has struggled to resonate with consumers, leading to efforts to rebrand the property. The Lone Ranger's eighty-year history as a lifestyle brand thus offers a perfect case study of how the fields of licensing, merchandizing, and brand management have operated within shifting industrial and sociohistorical conditions that continue to redefine how the business of entertainment functions. Deciphering how iconic characters gain and retain their status as cultural commodities, Selling the Silver Bullet focuses on the work done by peripheral consumer product and licensing divisions in selectively extending the characters' reach and in cultivating investment in these characters among potential stakeholders. Tracing the Lone Ranger's decades-long career as intellectual property allows Avi Santo to analyze the mechanisms that drive contemporary character licensing and entertainment brand management practices, while at the same time situating the licensing field's development within particular sociohistorical and industrial contexts. He also offers a nuanced assessment of the ways that character licensing firms and consumer product divisions have responded to changing cultural and economic conditions over the past eighty years, which will alter perceptions about the creative and managerial authority these ancillary units wield.
Focusing on late nineteenth- and twentieth-century stories of detection, policing, and espionage by British and South Asian writers, Yumna Siddiqi presents an original and compelling exploration of the cultural anxieties created by imperialism. She suggests that while colonial writers use narratives of intrigue to endorse imperial rule, postcolonial writers turn the generic conventions and topography of the fiction of intrigue on its head, launching a critique of imperial power that makes the repressive and emancipatory impulses of postcolonial modernity visible. Siddiqi devotes the first part of her book to the colonial fiction of Arthur Conan Doyle and John Buchan, in which the British regime's preoccupation with maintaining power found its voice. The rationalization of difference, pronouncedly expressed through the genre's strategies of representation and narrative resolution, helped to reinforce domination and, in some cases, allay fears concerning the loss of colonial power. In the second part, Siddiqi argues that late twentieth-century South Asian writers also underscore the state's insecurities, but unlike British imperial writers, they take a critical view of the state's authoritarian tendencies. Such writers as Amitav Ghosh, Michael Ondaatje, Arundhati Roy, and Salman Rushdie use the conventions of detective and spy fiction in creative ways to explore the coercive actions of the postcolonial state and the power dynamics of a postcolonial New Empire. Drawing on the work of leading theorists of imperialism such as Edward Said, Frantz Fanon, and the Subaltern Studies historians, Siddiqi reveals how British writers express the anxious workings of a will to maintain imperial power in their writing. She also illuminates the ways South Asian writers portray the paradoxes of postcolonial modernity and trace the ruses and uses of reason in a world where the modern marks a horizon not only of hope but also of economic, military, and ecological disaster.
Three decades of controversy in Shakespeare studies can be summed up in a single question: Was Shakespeare one of a kind? On one side of the debate are the Shakespeare lovers, the bardolatrists, who insist on Shakespeare's timeless preeminence as an author. On the other side are the theater historians who view modern claims of Shakespeare's uniqueness as a distortion of his real professional life. In Shakespeare Only, Knapp draws on an extraordinary array of historical evidence to reconstruct Shakespeare's authorial identity as Shakespeare and his contemporaries actually understood it. He argues that Shakespeare tried to adapt his own singular talent and ambition to the collaborative enterprise of drama by imagining himself as uniquely embodying the diverse, fractious energies of the popular theater. Rewriting our current histories of authorship as well as Renaissance drama, Shakespeare Only recaptures a sense of the creative force that mass entertainment exerted on Shakespeare and that Shakespeare exerted on mass entertainment.
When the four cousins climb into a rubber boat and paddle UPSTREAM from their Grandmother's pond they have no idea of the adventure that lies ahead. Once they pass under the small bridge the river carries them into a world of mystery and magic. The beauty gives way to fear and danger as they come upon three evil nixies that lock them in a huge pumpkin and transport them far from home. As the four kids try to get back to their grandmother's pond, they find themselves chased by wild animals, sucked into a swamp, and trapped underground. The further upstream the kids go the more dangerous the enchanted river becomes until the children are fighting for their very lives. They often lose their way but are drawn back again and again to the water in and around which both good and bad folk live. More evil magic beings torment them and if not for the help of four uncommon friends and the courage of the children themselves they might never find their way home again.
After the battle of Invaded, Caleath searches for his friends whisked underground, where magic is scorned and shackled. He must rescue Raul and Nasith before the Day of the Sun. Beneath the artificial illumination of a strange red orb Caleath begins his journey plagued by relentless light. Accepting custody of a confused young dread lord and guided by a feisty Gabrielle, Caleath struggles to unravel the conspiracy holding a race in thrall. His journey to rescue Nasith and save Raul from being sacrificed drives him into the hands if his enemy.