![]() And the boy with the dark eyes starts following her.Ĭlaire is being haunted. The number 396 appears everywhere she turns. There's something off about his presence, especially because when she checks at the end of the tour.he's gone.Ĭlaire tries to brush it off, she must be imagining things, letting her dad's ghost stories get the best of her. ![]() She thinks she's made it through when she sees a boy with a sad face and dark eyes at the back of the bus. She's a scientist, which is why she can't think of anything worse than having to help out her dad on one of his ghost-themed Chicago bus tours. Stine, author of the Goosebumps seriesįor fans of Small Spaces and the Goosebumps series by R.L Stine comes a chilling ghost story based on real Chicago history about a malevolent spirit, an unlucky girl, and a haunting mystery that will tie the two together.Ĭlaire has absolutely no interest in the paranormal. "This is a teeth-chattering, eyes bulging, shuddering-and-shaking, chills-at-the-back-of-your-neck ghost story. ![]()
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![]() ![]() …reads the first line of the prologue: a break in tradition from a genre that usually sets up class or character, the need for marriage or the disappointment of pursuit. “Anthony Bridgerton had always known he would die young,” (1) More still, his philandering ways are very much an outplay of loss and uncertainty following the death of his father and his requirement to step into a role years ahead of his young self. ![]() Yet the patriarchal head of the Bridgerton family is not a position Anthony desires. Lord Anthony Bridgerton, eldest of the series’ eponymous family is, as ton gossip monger Lady Whistledown insists, a capital R rake. Here, the canvas of a London season showcases two hearts burdened by grief and anxiety only to find love amidst a cast of familiar characters beloved by readers the world over. ![]() Returning to The Viscount Who Loved Me I found myself in the pages of a romantic masterpiece. ![]() ![]() ![]() It focuses on one character, then shifts to another. The book is written in third person omniscient. ![]() Themes include the search for identity and how individuals are oppressed by racism, patriarchy, and religious zealotry. The plot centers around a criminal act of murder and arson. ![]() Byron Bunch is a nondescript, poor, hardworking, quiet man whom no one notices. Joanna Burden, now living alone on a large property, is part of an abolitionist family that has been ostracized for years by their rural southern community. ![]() Gail Hightower is a disgraced reverend who is plagued by his family’s past and his wife’s scandalous death. Lena Grove is in an unwed pregnant young woman looking for the father of her unborn child. He is searching for his place in the world. Joe Christmas is an orphan who is abused as a child and believes he is of mixed racial ancestry but has no proof. They are viewed as outsiders because they do not adhere to social norms. Published in 1932, this classic American southern gothic novel, set during Prohibition, follows the intersecting lives of five people not following a traditional path in life. ![]() ![]() Cham: Palgrave Macmillan.ĭuPlessis, Rachel Blau. Palgrave Studies in Adaptation and Visual Culture. In Queer/Adaptation: A Collection of Critical Essays, ed. Reading for the Plot: Design and Intention in Narrative. London New York: Penguin Books.īrooks, Peter. Chicago: University of Chicago Press.īordwell, David. ![]() ![]() Tradition Counter Tradition: Love and the Form of Fiction. In this chapter, the authors focus on how love works within narrative progression and audience obsession to queer its own story, especially in its powers of resolution and closure. Narratives’ impulses to keep retelling plots animated by concerns of love is an ongoing project to diversify its forms and expand its boundaries. Readers are drawn to love plots in part because, while lived experience might warn us that love is scarce and possibly insufficient, each retelling sparks hope that we just haven’t got it right … yet. The authors outline how love occupies a unique position in narrative progression in its ability to initiate plot sustain narrative and end stories. ![]() Given that the question of how love signifies in narrative is ever-evolving, in “Queering Love: Love in Literary and Media Studies,” Dudek, Wexler, and Visosevic explore some non-conventional ways love is plotted in contemporary narratives including novels, films, and serial television for teens. ![]() ![]() ![]() He sat rigid in his chair, clearly uncomfortable, as a scantily-clad woman draped herself across his plump midsection. Though candlelight bathed half of his face in shadow, there was no mistaking the gold brocade on his coat or the heavy insignia around his neck. “There he is.” Coco motioned to a man in the corner. Though the Church did its best to conceal the mysterious circumstances of each death, all had been buried in closed caskets. Thirteen bodies had been found throughout Belterra over the past year-more than double the amount of years prior. ![]() Of course, those stupid enough to talk about such things ended up on the stake. As if the magic itself was still present somehow, watching and waiting. Rare individuals also sensed a tingle in the air. Most people first noticed the smell: not the rot of decay, but a cloying sweetness in their noses, a sharp taste on their tongues. There’s something haunting about a body touched by magic. ![]() ![]() Nussbaum's extension of Prof.Ĭomposed: SeptemRevised January 2003 ![]() This summary is mainly based on Amartya Sen's 1999 book, Development asįreedom (New York: Random House), hence DAF. Other, and (3) relates it to the notion of "capability," which is distinct fromĪ raw capacity and an actual exercise of a capability. (2) distinguishes it from negative freedom on the one side and happiness on the This webpage (1) lays out the basic idea of positive or substantial freedom, ![]() Amartya Sen's Ethics of Substantial Freedom Amartya Sen's Ethics of Substantial Freedom © by Dr. ![]() ![]() But her journey reveals a harrowing truth: the gods are dying and the High Halls of the afterlife are fading. As clans from the north and legionaries from the south tear through her homeland, slaughtering everyone in their path, Hessa strives to win back her goddess’ favour.īeset by zealot soldiers, deceitful gods, and newly-awakened demons at every turn, Hessa burns her path towards redemption and revenge. Grieving and alone, Hessa – the last Eangi – must find the traveller, atone for her weakness and secure her place with her loved ones in the High Halls. While she is gone, raiders raze her village and obliterate the Eangi priesthood. Banished for disobeying her goddess’s command to murder a traveller, she prays for forgiveness alone on a mountainside. Hessa is an Eangi: a warrior priestess of the Goddess of War, with the power to turn an enemy’s bones to dust with a scream. ![]() ![]() Keep reading this book review to find out what I thought! Summary It is an epic fantasy with fabulous world building that asks us all about our destiny. ![]() Viking-esque Warrior Princesess? A world where the gods come alive? Hall of Smoke promises a world where the battle of the gods are played out in mortal lives. ![]() ![]() ![]() Technically, My Bondage and My Freedom is considered a revised and expanded version of that original publication in that it serves to update readers on what has occurred in the decade since the earlier narrative was published. The first-and more famous-is his groundbreaking Narrative of the Life of Frederick Douglass, an American Slave: Written by Himself. So much did the iconoclastic Douglass have to share about the reality of slavery that My Bondage and My Freedom is actually his second publication. One of the most famous examples is the Interesting Narrative of the Life of Olaudah Equiano, but the most famous writer of a slave a narrative almost certainly has to be Frederick Douglas. This genre flourished from around 1760 and though the first few decades after the abolition of slavery. My Bondage and My Freedom, published in 1855, is an example of a genre of literature known as the slave narrative. We are thankful for their contributions and encourage you to make your own. These notes were contributed by members of the GradeSaver community. ![]() ![]() ![]() It’s about sitting still but still traveling, remaining stationary as the world transcends through you. Ruth Ozeki’s latest novel is about movement, but not as we know it. “It moved the coast of Japan closer to us.” Fate Chronicle Across Decades Ali Nasir.On Moving West and Back Again Carrie Beth Esposito.FOUR COLLAGES ON LONELINESS katiehamill.Litro #182: Experimental – The Book Fight Chihoi.Litro #182: Experimental – Where Art Thou Heart: Visual Language Lost on Deaf Eyes Jeremy Caniglia.Litro Lab Podcast: The Boat Ride Jane Downs. ![]()
![]() ![]() In Brontë's Villette, when faced with the harsh realities and social restrictions of Victorian England, Lucy Snow could slip into her shadowland, an interior place of refuge and boundless possibilities. Suspended in that glide from consciousness to unconsciousness, he seemed to find a threshold to unfettered freedom and clarity. When first reading Swann's Way, I instantly identified with Proust's ruminations on the space between sleeping and waking. Jo Yarrington: I've always been interested in liminal places, areas of the mind or reality that blur definition, that exist somewhere in between. Other earlier work in Mezzo Cammin: 2007.2. ![]() She is an associate professor at Saint Joseph's University in Philadelphia. Lindner's poetry collection, Skin, received the 2002 Walt McDonald First Book Poetry Prize from Texas Tech University Press. A contemporary retelling of Jane Eyre, the novel features a Sarah Lawrence dropout-turned-nanny who falls in love with her employer, an iconic rock star on the brink of a comeback. April Lindner's debut novel, Jane, is forthcoming in Fall 2010 from the Poppy imprint of Little, Brown. ![]() |