My friends are missing, because I threw caution to the wind and had a one-nightstand our first night in Colombia. What was I thinking? What was supposed to be the vacation of a lifetime became an impossible rescue mission. Thank God for Miguel, the one-nightstand Jessie ran into after her friends disappeared. Miguel has an answer for everything, but can he help Jessie save her friends—or is he the reason they went missing in the first place?
For more than a century, Woolworth's five and dime stores represented Americana, mirroring the country's growth, its good times and bad, its foibles and its fads. The chain was founded by Frank W. Woolworth, who in 1879 established two stores--one in Utica, New York, which failed and was closed down, and another in Lancaster, Pennsylvania, which succeeded and marked the beginning of the legacy of the Woolworth's Five and Tens. This work is a full account of the chain, its rags-to-riches founder, Frank W. Woolworth, and his flamboyant and tragic descendants. It traces the important role that Woolworth stores played in the sit-down strikes of the 1930s, the lunch counter sit-ins that began in Greensboro, North Carolina, as part of the Civil Rights movement (which tainted Woolworth's as the Big Business enemy of the downtrodden), and the gradual disintegration of the five and tens during the 1980s and early 1990s. The dramatic story is enhanced with important photos featuring such events as the closing of a Woolworth's in Germany by Nazi soldiers and the Greensboro sit-in as well as archival photos from Woolworth's 40th, 50th, and 60th anniversary booklets.
A favorite of President Andrew Jackson and the daughter of Senator Thomas Hart Benton of Missouri, Jessie Benton was acquainted with the famous from childhood. When the vivacious belle met John C. Frémont, “the handsomest young man who ever walked the streets of Washington,” love bloomed. Always passionately devoted to the controversial explorer, soldier, and politician, Jessie bore John five children, maintained a family life, charmed and campaigned on his behalf, and helped him write the popular reports of his western trailblazing. These pages, filled with public figures such as Kit Carson and Abraham Lincoln, present a lively and fearless woman.
Mark Padilla’s classical reception readings of Alfred Hitchcock features some of the director’s most loved and important films, and demonstrates how they are informed by the educational and cultural classicism of the director’s formative years. The six close readings begin with discussions of the production histories, so as to theorize and clarify how classicism could and did enter the projects. Exploration of the films through a classical lens creates the opportunity to explore new themes and ideological investments. The result is a further appreciation of both the engine of the director’s storytelling creativity and the expressionism of classicism, especially Greek myth and art, in British and American modernism. The analysis organizes the material into two triptychs, one focused on the three films sharing a wrong man pattern (wrongly accused man goes on the run to clear himself), the other treating the films starring the actress Grace Kelly. Chapter One, on The 39 Steps (1935), finds the origins of the wrong man plot in early 20th-century British classicism, and demonstrates that the movie utilizes motifs of Homer’s Odyssey. Chapter Two, on Saboteur (1942), theorizes the impact of the director’s memories of the formalism and myths associated with the Parthenon sculptures housed in the British Museum. Chapter Three, on North by Northwest, participates in the myths of the hero Oedipus, as associated with early Greek epic, Freud, Nietzsche, and Sophocles. Chapter Four, on Dial M for Murder (1954), returns to Homer’s Odyssey in the interpretive use of “the lay of Demodocus,” a story about the sexual triangle of Hephaestus, Aphrodite, and Ares. Chapter Five, on Rear Window (1954), finds its narrative archetype in The Homeric Hymn to Aphrodite; the erotic theme of Sirius, the Dog Star, also marks the film. Chapter Six, on To Catch a Thief (1955), offers the opportunity to break from mythic analogues, and to consider the film’s philosophical resonances (Plato and Epicurus) in the context of motifs coalesced around the god Dionysus/Bacchus.
