Amanda couldn’t believe her eyes when she witnessed her fianc? cheating. In despair, she decides to jump off a bridge, but gets saved by Malory, her fianc?’s half brother. The usually cold, stern man shows his kind and supportive side to Amanda during her struggle. Amanda cannot help but feel attracted to his kindness. Eventually, Amanda's cunning ex-fianc? spreads a fake rumor about the two, and Malory proposes an idea. He suggests that he and Amanda pretend to be engaged to stop the gossip!
Amanda couldn’t believe her eyes when she witnessed her fianc? cheating. In despair, she decides to jump off a bridge, but gets saved by Malory, her fianc?’s half brother. The usually cold, stern man shows his kind and supportive side to Amanda during her struggle. Amanda cannot help but feel attracted to his kindness. Eventually, Amanda's cunning ex-fianc? spreads a fake rumor about the two, and Malory proposes an idea. He suggests that he and Amanda pretend to be engaged to stop the gossip!
In Strangers to Family Shively Smith reads the Letter of 1 Peter through a new model of diaspora. Smith illuminates this peculiarly Petrine understanding of diaspora by situating it among three other select perspectives from extant Hellenist Jewish writings: the Daniel court tales, the Letter of Aristeas, and Philo's works. While 1 Peter tends to be taken as representative of how diaspora was understood in Hellenistic Jewish and early Christian circles, Smith demonstrates that 1 Peter actually reverses the most fundamental meaning of diaspora as conceived by its literary peers. Instead of connoting the scattering of a people with a common territorial origin, for 1 Peter, diaspora constitutes an "already-scattered-people" who share a common, communal, celestial destination. Smith's discovery of a distinctive instantiation of diaspora in 1 Peter capitalizes on her careful comparative historical, literary, and theological analysis of diaspora constructions found in Hellenistic Jewish writings. Her reading of 1 Peter thus challenges the use of the exile and wandering as master concepts to read 1 Peter, reconsiders the conceptual significance of diaspora in 1 Peter and in the entire New Testament canon, and liberates 1 Peter from being interpreted solely through the rubrics of either the stranger-homelessness model or household codes. First Peter does not recycle standard diasporic identity, but is, as Strangers to Family demonstrates, an epistle that represents the earliest Christian construction of diaspora as a way of life.
"I know you've made me." Some of the most illustrious writers of the early twentieth century would recognize and endorse the sentiments contained in Joseph Conrad's letter to his literary mentor and friend Edward Garnett, the renowned publisher, critic, and editor. Over a career spanning half a century, from 1887 to 1937, Garnett wheedled, coaxed, and cajoled great books into being. Aside from having exquisite taste, he was also considered a mentor by many writers, including Joseph Conrad, D. H. Lawrence, Edward Thomas, John Galsworthy, Henry Green, and T. E. Lawrence.To be mentored by Garnett was to enter into a relationship as much personal as it was professional. In this fascinating biography, Helen Smith charts his relationships with legendary authors, from his early days with Joseph Conrad and his battles with D. H. Lawrence to his nurturing of a later generation of talent. He was instrumental in bringing Russian literature to a British readership and enthusiastically advocated the work of American and Australian authors, including Stephen Crane, Sarah Orne Jewett, Robert Frost, and Sherwood Anderson.The novelist Ford Madox Ford once declared that when in the States he never lectured or went to a university or a literary party without someone asking, "What about Garnett ! What sort of a fellow is he?"' Smith's biography of Edward Garnett provides a fascinating response to that question. Drawing on extensive archive material, some of which is previously unpublished, The Uncommon Reader presents an intimate portrait of the life and world of a man who did much to shape the literary landscape of early twentieth-century Britain and beyond.
The Seventh volume in the Coward Collection. On Quadrille: "Miss Fontanne plays the madcap Marchioness with the crackle and sheen of a five-pound note. Her eyes mock marvelously, her voice cuts like a knife into a wedding cake, and the scene in Act Three, on the eve of her elopement with Mr. Lung, is as delicious as crushed ice." Evening Standard, 1952. "The idea of Peace in Our Time", Coward wrote "was conceived in Paris shortly after the Liberation. . . I began to suspect that the physical effect of four years intermittent bombing is far less damaging to the intrinsic character of a nation than the spiritual effect of four years enemy occupation." The volume also contains four pieces from the Tonight at 8.30 sequence: We Were Dancing "provides a marvelously compact illustration of the way the English public school spirit prevails even in moments of strenuous passion." "Shadow Play is a musical fantasy. . . which gave Gertie and me a chance to sing as romantically as we could, dance in the moonlight and, we hoped, convince the audience that we were very fascinating indeed"; and "Family Album - a sly satire on Victorian hypocrisy, adorned with an unobtrusive but agreeable musical score. It was stylised both in its decor and its performance, was a joy to play and provided the whole talented company with good parts." Star Chamber, closely based on Coward's experiences trying to co-ordinate his Actors' Orphanage charity committee, is published here for the first time.
