For $2.99 eBook go to- amazon.com/author/dancarroll SLUM: A ROMANTIC ADVENTURE (Book one of The Slum Trilogy) is not a typical boy-meets-girl love story. Their situation is impossible. Robert is a sophisticated executive in New York City. Julianna is a former stripper living in a slum on a Caribbean island. Besides, he already has a girlfriend and is not looking for someone else- especially not a married ex-stripper from a far-away Caribbean slum! But as fate would have it, a dying six-year-old girl is the force which throws them together into a passionate entanglement which transforms both of them. An intoxicating love story? A tale of hope for a dying child? An inspiring moral drama? It's all rolled into this fast moving page turner.
Seventeen-year-old Astor thinks she's about to wed the handsome plutocrat Lorrain Swale. But to her horror, her mother and stepfather abandon her, and she finds herself a lowly governess in the Swale household. Treated with contempt by the whole family, Astor is determined to escape. Help arrives unexpectedly in the form of the charismatic and mysterious Verrol. Together they plunge into the slums of Brummingham and find themselves in a street band, making wild music-- a new kind of music that takes the world by storm. But the Swale brothers haven't finished with them yet.
We find 'passion' in each story-not only the passion of love, but also lust, infatuation, fury, and self-determination. In the first story, JULIANNA, we find the roots of "The Slum Trilogy" which launched the author into becoming a prize-winning novelist. In CARESSE, we learn how an artist is overtaken by lust who tragically ends up with more than what she wanted. In HOLDING HANDS we find that 'puppy love' or infatuation can be an experience as powerful as full-blown love. Here a Moslem-influenced teenager arrives in New York from Abekestan and is exposed to a one-on-one encounter with a boy for the first time in her life. In PURGE we meet Emily, a sixty-five-year-old woman who has lived a life of fury, but who ends up realizing that only the experience of love can bring happiness. Finally, in CHRISTMAS TEARS, we follow a six-year-old girl, Millie, who emerges from a life of parental abuse to the realization that she can develop her own personal inner strength.
After his father was killed by terrorists at the finish line of the Boston Marathon, and his mother killed by a mugger a year before, Brendan is determined to make sense of the world, to see if life has any real meaning. He shuns a carpentry career and embarks upon the study of philosophy to seek truth in everyday existence. He lives in a rustic cabin with no electricity on a lake in Maine, but becomes intrigued by a waitress named Cosette, and together they tour Canada, having no idea who will be waiting for them after they get back-Brendan's wife. She attacks Cosette in a bloody catfight which lands Cosette in the hospital. As a result of the many twists and turns of that summer, Brendan-through Cosette-discovers the truth he'd been searching for, a truth embodied in the acceptance that everything has a price to pay, including happiness itself.
Tang Chuan, the heir to the imperial family, was ordered by four beautiful mothers to find the precious treasure of the Apricot Forest, the "Nine Stars Needle". At the same time, he helped his fiancée, who he had never met, dissolve her yin and yang body, but because of the misunderstanding, Tang Chuan stayed at Zhou's house.
Based on his own extraordinary life, Gregory David Roberts’ Shantaram is a mesmerizing novel about a man on the run who becomes entangled within the underworld of contemporary Bombay—the basis for the Apple + TV series starring Charlie Hunnam. “It took me a long time and most of the world to learn what I know about love and fate and the choices we make, but the heart of it came to me in an instant, while I was chained to a wall and being tortured.” An escaped convict with a false passport, Lin flees maximum security prison in Australia for the teeming streets of Bombay, where he can disappear. Accompanied by his guide and faithful friend, Prabaker, the two enter the city’s hidden society of beggars and gangsters, prostitutes and holy men, soldiers and actors, and Indians and exiles from other countries, who seek in this remarkable place what they cannot find elsewhere. As a hunted man without a home, family, or identity, Lin searches for love and meaning while running a clinic in one of the city’s poorest slums, and serving his apprenticeship in the dark arts of the Bombay mafia. The search leads him to war, prison torture, murder, and a series of enigmatic and bloody betrayals. The keys to unlock the mysteries and intrigues that bind Lin are held by two people. The first is Khader Khan: mafia godfather, criminal-philosopher-saint, and mentor to Lin in the underworld of the Golden City. The second is Karla: elusive, dangerous, and beautiful, whose passions are driven by secrets that torment her and yet give her a terrible power. Burning slums and five-star hotels, romantic love and prison agonies, criminal wars and Bollywood films, spiritual gurus and mujaheddin guerrillas—this huge novel has the world of human experience in its reach, and a passionate love for India at its heart.
Maeda Ai was a prominent literary critic and an influential public intellectual in late-twentieth-century Japan. Text and the City is the first book of his work to appear in English. A literary and cultural critic deeply engaged with European critical thought, Maeda was a brilliant, insightful theorist of modernity for whom the city was the embodiment of modern life. He conducted a far-reaching inquiry into changing conceptions of space, temporality, and visual practices as they gave shape to the city and its inhabitants. James A. Fujii has assembled a selection of Maeda’s essays that question and explore the contours of Japanese modernity and resonate with the concerns of literary and cultural studies today. Maeda remapped the study of modern Japanese literature and culture in the 1970s and 1980s, helping to generate widespread interest in studying mass culture on the one hand and marginalized sectors of modern Japanese society on the other. These essays reveal the broad range of Maeda’s cultural criticism. Among the topics considered are Tokyo; utopias; prisons; visual media technologies including panoramas and film; the popular culture of the Edo, Meiji, and contemporary periods; maps; women’s magazines; and women writers. Integrally related to these discussions are Maeda’s readings of works of Japanese literature including Matsubara Iwagoro’s In Darkest Tokyo, Nagai Kafu’s The Fox, Higuchi Ichiyo’s Growing Up, Kawabata Yasunari’s The Crimson Gang of Asakusa, and Narushima Ryuhoku’s short story “Useless Man.” Illuminating the infinitely rich phenomena of modernity, these essays are full of innovative, unexpected connections between cultural productions and urban life, between the text and the city.
In this compelling work, Keith Gandal reveals how the slum in nineteenth-century America, long a topic for sober moral analysis, became in the 1890s an unprecedented source of spectacle, captured in novels, newspapers, documentary accounts, and photographs. Reflecting a change in the middle-class vision of the poor, the slum no longer drew attention simply as a problem of social conditions and vice but emerged as a subject for aesthetic, ethnographic, and psychological description. From this period dates the fascination with the "colorful" alternative customs and ethics of slum residents, and an emphasis on nurturing their self-esteem. Middle-class portrayals of slum life as "strange and dangerous" formed part of a broad turn-of-the-century quest for masculinity, Gandal argues, a response to a sentimental Victorian respectability perceived as stifling. These changes in middle-class styles for representing the urban poor signalled a transformation in middle- class ethics and a reconception of subjectivity. Developing a broad cultural context for the 1890s interest in the poor, Gandal also offers close, groundbreaking analysis of two of the period's crucial texts. Looking at Jacob Riis's How the Other Half Lives (1890), Gandal documents how Riis's use of ethnographic and psychological details challenged traditional moralist accounts and helped to invent a spectacular style of documentation that still frames our approach as well as our solutions to urban problems. Stephen Crane's Maggie: A Girl of the Streets (1893) pushed ethnographic and psychological analysis even farther, representing a human interiority centered around self-image as opposed to character and exploring not only different customs but a radically different ethics in New York's Bowery--what we would call today a "culture of poverty." Gandal meanwhile demonstrates how both Riis's innovative "touristic" approach and Crane's "bohemianism" bespeak a romanticization of slum life and an emerging middle-class unease with its own values and virility. With framing discussion that relates slum representations of the 1890s to those of today, and featuring a new account of the Progressive Era response to slum life, The Virtues of the Vicious makes fresh, provocative reading for Americanists and those interested in the 1890s, issues of urban representation and reform, and the history of New York City.
