In Burt L. Standish's 'Frank Merriwell's Backers; Or, The Pride of His Friends', readers are immersed in a thrilling tale of friendship, loyalty, and courage within a sportsman's context. The book features vivid descriptions and engaging dialogue, placing it firmly within the realm of classic American adventure literature. Standish's narrative style keeps readers captivated as they follow Frank Merriwell's journey through challenges and triumphs, ultimately showcasing the true meaning of friendship and support. The novel's exploration of themes such as teamwork and dedication resonates with readers of all ages, making it a timeless classic in the realm of adventure fiction. Standish's careful attention to detail and character development sets 'Frank Merriwell's Backers' apart as a must-read for fans of the genre, offering both entertainment and valuable life lessons. Recommended for those seeking a gripping and inspiring story of camaraderie and perseverance in the face of adversity.
If the Renaissance was the Golden Age of English comedy, the Restoration was the Silver. These comedies are full of tricksters attempting to gain estates, the emblem and the reality of power in late feudal England. The tricksters appear in a number of guises, such as heroines landing their men, younger brothers seeking estates, or Cavaliers threatened with dispossession. The hybrid nature of these plays has long posed problems for critics, and few studies have attempted to deal with their diversity in a comprehensive way. Now one of the leading scholars of Restoration drama offers a cultural history of the period's comedy that puts the plays in perspective and reveals the ideological function they performed in England during the latter half of the seventeenth century. To explain this function, J. Douglas Canfield groups the plays into three categories: social comedy, which underwrites Stuart ideology; subversive comedy, which undercuts it; and comical satire, which challenges it as fundamentally immoral or amoral. Through play-by-play analysis, he demonstrates how most of the comedies support the ideology of the Stuart monarchs and the aristocracy, upholding what they regarded as their natural right to rule because of an innate superiority over all other classes. A significant minority of comedies, however, reveal cracks in class solidarity, portray witty heroines who inhabit the margins of society, or give voice to folk tricksters who embody a democratic force nearly capable of overwhelming class hierarchy. A smaller yet but still significant minority end in no resolution, no restoration, but, at their most radical, playfully portray Stuart ideology as empty rhetoric. Tricksters and Estates is a truly comprehensive work, offering serious critical readings of many plays that have never before received close attention and fresh insights into more familiar works. By juxtaposing the comedies of such lesser-known playwrights as Orrery, Lacy, and Rawlins with those of more familiar figures like Behn, Wycherley, and Dryden, the author invites a greater appreciation than has previously been possible of the meaning and function of Restoration comedy. This intelligent and wide-ranging study promises is a standard work in its field.
With Amusement for All contextualizes what Americans have done for fun since 1830, showing the reciprocal nature of the relationships among social, political, economic, and cultural forces and the ways in which the entertainment world has reflected, changed, or reinforced the values of American society.
This book analyzes the National Police Gazette, the racy New York City tabloid that gained an audience among men and boys of the late nineteenth and early twentieth centuries. Looking at how images of sex, crime, and sports reflected and shaped masculinities during this watershed era, this book amounts to a story of what it meant to be an American man at the beginning of the American Century.
"What sentimentalists men of science are!" exclaimed Father Brown, "and how much more sentimental must American men of science be! Who but a Yankee would think of proving anything from heart-throbs? Why, they must be as sentimental as a man who thinks a woman is in love with him if she blushes. That's a test from the circulation of the blood, discovered by the immortal Harvey; and a jolly rotten test, too." "But surely," insisted Flambeau, "it might point pretty straight at something or other."
THE SUNDAY TIMES BESTSELLER AS SEEN ON SUNDAY BRUNCH "GENIUS ... CHANGED THE WAY I'M GOING TO EAT FROM NOW ON ... THESE SANDWICHES ARE EPIC!" THE HAIRY BIKERS Max's Sandwich Book is the ultimate guide to creating perfection between two slices of bread. Max Halley owns Britain's most amazing sandwich shop. After working in some of the country's best restaurants, he realised that the sandwich, humanity's greatest invention, was due a renaissance. So Max decided to open his own place and reinvent the sandwich forever. Inside this book you will find: · Award-winning creations from his shop · Inspired variations on classic sandwiches · Brilliant, delicious ways to use your leftovers · Sandwiches for breakfast · Sandwiches for dinner · Sandwiches for dessert · And more than 100 recipes for making your own ingenious creations at home. Ham, Egg & Chips never tasted so good. Max is the owner of Max's Sandwich Shop in Crouch End, winner of the Observer Food Monthly Award for Best Cheap Eat in 2015. "Amazing" Russell Norman, author of Polpo "Max is a sensation!" Meera Sodha "The Ham, Egg & Chips is the best sandwich I've ever eaten in my life" Simon Rimmer, Sunday Brunch "Very, very good" Evening Standard
