There is nothing worse than a goddess who doesn't know she is one. Eternal life, powers so strong they can change a man's existence, are hidden from Bridget, lost in centuries of forgotten memories. Bridget Down has a good life-working in her shop, selling her crafts to local stores as well as donating them to the orphanage where she grew up. Other than the occasional pangs of loneliness that pass through her, she has no complaints. Well, almost no complaints. But something is missing in the jigsaw puzzle of her life, and it isn't just the hot and sweaty sex she dreams of and yearns for. When a mysterious man follows her, setting her pulse racing and hormones pumping, he forces her to remember a life she could never have imagined, a passionate and fiery love she could never have dreamed of, and a fight for her life that takes her to the pits of a hell where all her strength and newfound powers are needed to survive and overcome. Braze, the strong and relentless lover who claimed her on an altar on a planet far away, long, long ago, has finally found her. This time, whether she likes it or not, he won't let her go. The battle for Bridget has begun.
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Brown takes readers along a perilous trek through spoiled relationships, perverted perceptions, and frustrating debates about whether Jesus would date and court the opposite sex.
Doctoral Thesis / Dissertation from the year 2003 in the subject American Studies - Literature, grade: None, Claremont Graduate University, 233 entries in the bibliography, language: English, abstract: This work will reflect on the mutability of meaning in the female mulatto body as well as on the mutability of perception by acknowledging the erroneous nature of race and its concrete results, by examining the valorization and undermining of racial essentialism and heterogeneity, and by revealing passing as bound by the social and legal restraints related to the physical body even as it interrogates racial classifications. Specifically, this study will explore how some nineteenth century, modern, and postmodern American narratives containing mulattoes and passing personas produce a resolution reiterating the structure of race or new subjectivities within or possibly without the color line. Through this exploration, the war between the homogenous Self and the different Other will play out. In an effort to unite a divided personality, the Other will counter attempts by the Self to maintain essentialism. The success lies not in the final outcome but in recognizing the subversive acts of the Other and the irrational tactics of the Self as continuously revealing the subjects as always already married and as surpassing mere essentialism into the multitudinous, heterogeneous One. Still, this work realizes that essentialism has a place in heterogeneity, even if essentialism is a logical error. Duality and conflict are inherent in heterogeneity, or the multitudinous One. The key is not to eradicate, in an essentialist manner, one and not the other, but to live in a state of awareness, respecting and accepting those who knowingly choose to construct identities within or without the color line.
By adopting an open, multidisciplinary, and transnational approach, this book sheds new light both on the specific achievements and on the often-unexpected interrelationships of the writers, artists and thinkers who helped to define the Japanese version of modernism and modernity.
The Nashville Chronicles is a fascinating journalistic tour de force of the movie that legendary film critic Pauline Kael called "The funniest epic vision of America ever to reach the screen." In writing this book, Jan Stuart enjoyed the benefit of full cooperation from Altman, who sat for many hours of interviews, as well as most of the motley crew of cast and characters. Illustrated throughout with behind-the-scenes photos.
This volume, the third in Rodopi's Neo-Victorian Series, reassesses neo-Victorianism as a quintessentially Gothic movement. Through their revival of bygone spectres, their obsession with forgotten skeletons in the cupboard, and their exploration of nineteenth-century extremities, neo-Victorian works not only reflect our contemporary Gothic culture but also reactivate it and even enrich it with new variations such as postcolonial, eco or steampunk Gothic. Addressed to scholars and students of both Gothic and Neo-Victorian Studies, this volume will also interest contemporary literature specialis.
Dr. McAlindon argues that there were two models of nature in Renaissance culture, one hierarchical, in which everything has an appointed place, the other contrarious, showing nature as a tense system of interacting opposites, liable to sudden collapse. This latter model applies to the whole of Shakespeare's tragedy. It can be seen in the characterization, the settings and the imagery of the tragedies, which the author analyzes in chapters devoted to Romeo and Juliet, Julius Caesar, Hamlet, Othello, King Lear, Macbeth and Antony and Cleopatra.
Ned Rorem explores the state of contemporary classical music in a magnificent collection of personally selected essays and critiques of masterworks, lesser works, and their legendary creators Pulitzer Prize–winner Ned Rorem’s musical compositions are considered some of the finest produced in the past century. His literary works have been hailed as “scintillating” (Time magazine) and “extraordinary” (The Washington Post). Rorem’s remarkable twin talents are brilliantly intertwined in Settling the Score, a masterful collection of essays on music, composers, and the state of the art. Selected by Rorem himself, these enthralling and provocative pieces examine the works of the great and (in the author’s lively, unabashed opinion) the not-so-great masters of twentieth-century classical music—Debussy, Ravel, Copland, Gershwin, Barber, Cage, Bernstein, Britten, Stravinsky, and others. With keen precision, he dissects the so-called serious music of our time while predicting where the form is bound in the future. Never lacking in intelligence or wit, each essay in Settling the Score sings in a voice that is clear and true.