Maybe, eventually, I'll get some idea of who I am. Where I am. What I am. That's bound to be a good thing. Hadleyville is a small east-Tennessee mountain town, and Heathcliff Vanlandingham is a country boy with a wealthy father, a mother who loved Bronte, and a wife who equates sex with wine tasting. Cliff has a keen sense of humor and an even disposition, but lately, his patience is wearing thin with his open marriage to the beautiful Catherine. Her sexual exploits are a little too frequent for his liking, and he's tired of trying to fix their relationship. Trying to understand how he landed in this situation, Cliff starts a blog to examine his past, present, and future. The Internet is a new and fascinating place, and he soon finds that it is influencing his outlook. His real world seems to have become as dramatic as the online one, and Cliff has a few choices to make, ones that could determine his future happiness .
Clay Hollister and Breezy Sidler are on the trail of the outlaw who killed Clay's brother. They come upon a wagonload of coffins headed for Hadleyville where the bank has a huge deposit just waiting for an outlaw to pay a visit.
A seductive novel of southern lyricism. Monte Schulz's prose novel opens in the spring of 1929, as the 19-year-old consumptive farm boy Alvin Pendergast attends an ill-fated dance marathon he's too sickly to participate in. After a year of his life has been stolen by a sanitarium, Alvin knows he's relapsing, and dreads not only the drudgery of his family's homestead, but a return to the hospital. In this state of mind, an invitation for a late-night slice of pie is too seductive to pass up and before he knows it, Alvin crosses the Mississippi River and finds himself working for a slick con artist named Chester Burke. Alvin is no match for Chester, who's not merely a con man, but a gangster from Chicago, following the bootleg liquor trade through the small towns of America's middle border. With Alvin in tow, Chester's insouciant disregard for life serves him well as he embarks upon a series of bank robberies and senseless murders. All summer long, Chester assumes the role of a dark angel on Judgment day, cleansing the scrolls of those whose sad fortune had drawn them across his path. Too ill to flee, too morally weak to object, Alvin resigns himself to what seems like certain doom somewhere down the road. Fortunately, Alvin finds another companion on his journey, a lonely, eccentric, and grandiloquent dwarf named Rascal, whose own infirmity binds his and the farm boy's destiny together. Drawn deeper and deeper into Chester's murderous frolic, they come across a curious assortment of characters, from small town businessmen and religious kooks to wayward girls and dance contestants, spiritualists and sideshow freaks. Caught between Chester's villainy and Alvin's own physical deterioration, the young farm boy must make a decision: stick with Chester, who would surely kill him at the slightest hint of betrayal, or muster the courage to stake his life on faith in Rascal's clever plan to save them both. Tired of being afraid, Alvin finally grasps the need not only to outwit the gangster but to find another road to travel. What he discovers about the meaning of home offers a solution to escape and freedom. This Side of Jordan is a thoroughly American novel told in the voice of a lost generation hurtling toward the Great Depression, and evokes a long ago America of crowded Main Streets and tourist camps, miles of cornfields, rural church¬es, and musty parlors. It ends on the fairgrounds of a traveling wagon circus that beckons gangster, farm boy, and dwarf toward a startling resolution, and a hard-fought absolution for the two young, frightened collaborators. The narrative of this novel has the momentum of a freight train, but told in the seductive, rhythmic tradition of Southern lyricism reminiscent of Flannery O'Connor and Truman Capote, and filled with vivid, outsized literary characters. If Jim Thompson and Carson McCullers went on a collaborative bender by kidnapping Holden Caulfield, Perry Smith, and Ignatius J. Reilly, they'd have come up with something like This Side of Jordan.
This omnibus collects Monte Schulz’s Jazz Age Trilogy of historical fiction novels, which follows various family members on the eve of the Great Depression to the circus, through bank robberies, underneath front porches and big city skyscrapers, and much more. Crossing Eden is the story of an American family in the summer of 1929, when a failed businessman divides himself from his wife and children, and a troubled farm boy runs away from home in the company of a gangster. It’s also the tale of a nation in the last months of the Roaring Twenties, a glittering decade of exuberance and doubt, optimism and fear. Set equally among the states along the Middle Border, in a small East Texas town, and in a great gleaming metropolis, Crossing Eden chronicles the Pendergast family of Farrington, Illinois, cast apart by circumstance into the early 20th century landscape of big business, tent shows, speakeasies, séances, bank robberies, lynchings, murder, romance, circuses, and skyscrapers. It’s a grand tapestry of the American experience in an age of transition from rural to urban, with our nation perched on the precipice of the Great Depression.
The Western and Political Thought: A Fistful of Politics offers a variety of engaging and entertaining answers to the question: What do Westerns have to do with politics? This collection features contributions from scholars in a variety of fields—political science, English, communication studies, and others—that explore the connections between Westerns (prose fiction, films, television series, and more) and politics.
An examination of the cinematic and cultural discourse surrounding work, the worker, organized labor, and the working class in 20th century America, this book analyzes a number of films within the historical context of labor and politics. Looking at both comedies (Modern Times, Gung Ho, Office Space) and dramas (The Grapes of Wrath, On the Waterfront, F.I.S.T., Blue Collar, Norma Rae, and Matewan), it reveals how these films are not merely products of their times, but also producers of ideological stances concerning the status of capitalism, class struggle, and democracy in America. Common themes among the films include the myth of the noble worker, the shifting status of the American Dream, and the acceptability of reform versus the unacceptability of revolution in affecting economic, political, and social change in America.
This book explores Twain's major writings as they address the New World and the Old, race, slavery, imperialism, the possibility of American literary form and the limits of humour. Twain's humour is an expression of the pleasure and fun of life, but it is also a response to ultimate contradictions and losses. It is particularly American in that it rarely points to harmonies that might actually be enjoyed beyond itself. It is the humour of someone always on the move if not on the run. The absence of any destination in Twain, other than the ultimate one of death, is why his work is so formally unsettled. There is no point of clarification where author, narrator and readers can be expected to arrive together. Texts treated in this book include The Innocents Abroad, Roughing It, Tom Sawyer, Huckleberry Finn, Life on the Mississippi, The Gilded Age, A Connecticut Yankee, Pudd'nhead Wilson, Following the Equator, The Mysterious Stranger, and several short pieces.
Eden stood and walked over to him. I can not lose all of you, I would rather deny my lineage and denounce the oath, I dont care about any of it, not if I am to lose you. Eden spoke with sheer determination and conviction through her tears. To do so would be horribly foolish, immature and not worthy of you or your name sake, lacking the dignity of a warrior. Talus scolded. I dont care. there is no dignity when you love someone. Eden cried. I cant live on this earth without a part of you near me...Id sooner die and let Th e Council ravage my body from my soul, I can not live without you. She was rapped in his arms, and he did not resist. In Talus Eden had found her womanhood, he was everything to her...it was hard to let go. Only death would keep her from him.- Rite of The Path.
Tawney Grey has left her beloved police force to spend more time with her children. Taking over a P.I. buisness it is not the mild mannored job she expected it to be. The new jobs puts stress on her marriage and endangers her children and herself.
Although many opera dictionaries and encyclopedias are available, very few are devoted exclusively to operas in a single language. In this revised and expanded edition of Operas in English: A Dictionary, Margaret Ross Griffel brings up to date her original work on operas written specifically to an English text (including works both originally prepared in English, as well as English translations). Since its original publication in 1999, Griffel has added nearly 800 entries to the 4,300 from the original volume, covering the world of opera in the English language from 1634 through 2011. Listed alphabetically by letter, each opera entry includes alternative titles, if any; a full, descriptive title; the number of acts; the composer’s name; the librettist’s name, the original language of the libretto, and the original source of the text, with the source title; the date, place, and cast of the first performance; the date of composition, if it occurred substantially earlier than the premiere date; similar information for the first U.S. (including colonial) and British (i.e., in England, Scotland, or Wales) performances, where applicable; a brief plot summary; the main characters (names and vocal ranges, where known); some of the especially noteworthy numbers cited by name; comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-English ones, and/or other operas involving the same story or characters (cross references are indicated by asterisks). Entries also include such information as first and critical editions of the score and libretto; a bibliography, ranging from scholarly studies to more informal journal articles and reviews; a discography; and information on video recordings. Griffel also includes four appendixes, a selective bibliography, and two indexes. The first appendix lists composers, their places and years of birth and death, and their operas included in the text as entries; the second does the same for librettists; the third records authors whose works inspired or were adapted for the librettos; and the fourth comprises a chronological listing of the A–Z entries, including as well as the date of first performance, the city of the premiere, the short title of the opera, and the composer. Griffel also include a main character index and an index of singers, conductors, producers, and other key figures.
