"Having survived a violent confrontation with the US government, Avie is not out of danger. Both she and the young man she loves, Yates, have been declared terrorists, and Yates is hospitalized in critical condition, leaving Avie with the perilous task of carrying information that can bring down the Paternalist party, if she can get it into the right hands"--
This remarkable new dictionary represents the first attempt in some four centuries to record the state of development of English as used across the entire Caribbean region.
Nineteen year-old Max is the duchesse de Claireville's second footman, but he does not intend to endure the indignities of service for long. He has a plan—to find an aristocratic patron who will become his unwitting accomplice in an audacious fraud.It is true that in 1880s' France, despite nearly a century of revolution and social turmoil, the aristocracy is still firmly entrenched in privilege, and the gulf between the salon and the servants' hall is as wide as ever. But Max is handsome, quick to learn and confident of his abilities as a seducer of both men and women.Whether ladling soup into noble plates beneath crystal chandeliers, or reading biographies of the great generals in his squalid footman's dormitory, he is planning his strategy. He, Max, is the man of the future - ruthless, above morality and sentimental attachments.Yet, when, after a couple of false starts, he at last acquires his patron, he finds himself ambushed by instinctive longings—for friendship, for affection—that threaten his grand plan. 'Be true to yourself…' the saying goes. But to which self? And what is 'truth'?
The long-awaited follow-up to The Second Footman. A modern take on the nineteenth-century novel, set in 1880s’ France and full of period detail and atmosphere. Who is Max Fabien? Is he the loyal secretary and faithful lover of the marquis de Miremont? Or a handsome but unscrupulous trickster, who regards any sexual quarry as fair game?
Focusing on two film traditions not normally studied together, Maria Pramaggiore examines more than two dozen Irish and African American films, including Do the Right Thing, In the Name of the Father, The Crying Game, Boyz N the Hood, The Snapper, and He Got Game, arguing that these films foreground practices of character identification that complicate essentialist notions of national and racial identity. The porous sense of self associated with moments of identification in these films offers a cinematic counterpart to W. E. B. Du Bois's potent concept of double consciousness, an epistemological standpoint derived from experiences of colonization, racialization, and cultural disruption. Characters in these films, Pramaggiore suggests, reject the national paradigm of insider and outsider in favor of diasporic both/and notions of self, thereby endorsing the postmodern concept of identity as performance.