When Newt Newman's football-star brother, Chris, is knocked into a coma during the biggest game of the season, Newt's two best friends keep his mind off of the accident by helping him create the ultimate Halloween costume: Captain Nobody. Newt feels strong and confident in his new getup, so he keeps wearing it after Halloween is over. Soon Newt assumes the role of a hero in a string of exploits that include foiling a robbery and saving a planeload of passengers. But will Captain Nobody be able to save the one person he cares about most?
Forgetting was easy. It was remembering that was hell. A true account of occult bondage, abuse and redemption. A story that must be heard, from one who survived to tell.
Is history driven more by principle or interest? Are ideas of historical progress obsolete? Is it unforgivable to change one's mind or political allegiance? Did the eighteenth century really exchange the civilizing force of commercial advantage for political conflict? In this new account of liberal thought from its roots in seventeenth-century English thinking to the end of the eighteenth century, Annabel Patterson tackles these important historiographical questions. She rescues the term "whig" from the low regard attached to it; denies the primacy of self-interest in the political struggles of Georgian England; and argues that while Whigs may have strayed from liberal principles on occasion (nobody's perfect), nevertheless many were true progressives. In a series of case studies, mainly from the reign of George III, Patterson examines or re-examines the careers of such prominent individuals as John Almon, Edmund Burke, Sir Joshua Reynolds, Thomas Erskine, and, at the end of the century, William Wordsworth. She also addresses a host of secondary characters, reshaping our thinking about both well-known and lesser figures of the time. Tracking a coherent, sustained, and adaptable liberalism throughout the eighteenth century, Patterson overturns common assumptions of political, cultural, and art historians. The author delivers fresh insights into the careers of those who called themselves Whigs, their place in British political thought, and the crucial ramifications of this thinking in the American political arena.
Journeys into the private lives of the residents of a small urban street in England as it chronicles the events that transpire over the course of a single day, as the peace and tranquility of an ordinary day are shattered by a tragic accident at the end of the day. A first novel. Original.
One of America's most prominent historians and a noted feminist bring together the most important political writings and testimonials from African-Americans over three centuries.
Jim Morrison takes us on a journey of discovery. Sam Travis must leave his Upper East Side condo, the troubled "Nobody Company" IPO, sexually aggressive Diane, and all other New York fineries to immerse himself, halfway across the world, in a murder investigation where the accused is his missing brother Michael. Morrison weaves a smart fast paced sexy tale of intrigue, discovery and self-enlightenment as he forces Sam (and the reader) to question his desire for the
Anthony Lane on Con Air— “Advance word on Con Air said that it was all about an airplane with an unusually dangerous and potentially lethal load. Big deal. You should try the lunches they serve out of Newark. Compared with the chicken napalm I ate on my last flight, the men in Con Air are about as dangerous as balloons.” Anthony Lane on The Bridges of Madison County— “I got my copy at the airport, behind a guy who was buying Playboy’s Book of Lingerie, and I think he had the better deal. He certainly looked happy with his purchase, whereas I had to ask for a paper bag.” Anthony Lane on Martha Stewart— “Super-skilled, free of fear, the last word in human efficiency, Martha Stewart is the woman who convinced a million Americans that they have the time, the means, the right, and—damn it—the duty to pipe a little squirt of soft cheese into the middle of a snow pea, and to continue piping until there are ‘fifty to sixty’ stuffed peas raring to go.” For ten years, Anthony Lane has delighted New Yorker readers with his film reviews, book reviews, and profiles that range from Buster Keaton to Vladimir Nabokov to Ernest Shackleton. Nobody’s Perfect is an unforgettable collection of Lane’s trademark wit, satire, and insight that will satisfy both the long addicted and the not so familiar.
Langland argues that the middle-class wife had a more complex and important function than has previously been recognized: she mastered skills that enabled her to support a rigid class system while unknowingly setting the stage for a feminist revolution.
A warm and witty novel from the acclaimed author of Good in Bed, In Her Shoesand the forthcoming Who Do You Love (August 2015) For Kate Klein, semi-accidental mother of three, the unsolved murder of a fellow mother is the most interesting thing to happen since the neighbours cracked their septic tank. Up until then life in suburbia has been distinctly underwhelming. Her once-loving husband is hardly ever home. The supermums on the playground routinely snub her and her days are filled with an empty routine. At night, most of her orgasms are of the do-it-yourself variety. So, on Mondays, Wednesdays and Fridays, when her kids are in nursery school, Kate launches a murder investigation of her own. With the help of her best friend, carpet heiress Janie Segal, and former flame, Evan McKenna, she is drawn deep into the dead woman's double life. Suddenly suburbia is not so ordinary after all. Engrossing, suspenseful, and laugh-out-loud funny, Goodnight Nobodyis another unputdownable, sparkling tale; a quick-witted mystery with a great heart and a narrator you'll never forget.
'Love Is All Round' is a feminist publishing house where Harriet Copeland is running a competition to find new romantic fiction; their motto is 'For Women By Women'. To avoid this gender bias, Leonard Loftus is forced to submit his novel under a female pseudonym. So when Lulabelle Latiffa wins the first prize, Leonard begins to have a major problem. He is a bashful statistician lumbered with a spectacular alter ago. With domestic complications from his wayward daughter Dee Dee and Gus, his rascally old father, Leonard tries frantically to keep up the charade of Lulabelle. His problems are made worse when he falls hopelessly in love with Harriet. He is a worried man in the guise of a carefree woman. The happy ending is not going to be easy. In high heels and lipstick our hero is caught in a hilarious dilemma of cross-dressing and cross-purposes. Oh what a tangled web we weave, across The UK, Australia and all over Europe, Nobody's Perfect has been acclaimed as a classic feel good romantic comedy. Now adapted for the US audience it has the fertile tradition of Some Like It Hot, Tootsie, and Mrs. Doubtfire. This is a play that offers belly laughs galore - four irresistibly loveable characters locked into a hilarious plot. The final scene has been described as a comic masterpiece.
"A superb book. . . . A scintillating, continuously rewarding reflection on authorship and its place in the modern world. This is a study in the great tradition of Ian Watt's The Rise of the Novel: both a brilliant work of literary scholarship and an invigorating report on modernity itself."—Terry Castle, author of The Apparitional Lesbian "An exemplary instance of what many have been clamoring for: a rigorous cultural study of literature."—William B. Warner, author of Reading Clarissa
Nobody's Nation offers an illuminating look at the St. Lucian, Nobel-Prize-winning writer, Derek Walcott, and grounds his work firmly in the context of West Indian history. Paul Breslin argues that Walcott's poems and plays are bound up with an effort to re-imagine West Indian society since its emergence from colonial rule, its ill-fated attempt at political unity, and its subsequent dispersal into tiny nation-states. According to Breslin, Walcott's work is centrally concerned with the West Indies' imputed absence from history and lack of cohesive national identity or cultural tradition. Walcott sees this lack not as impoverishment but as an open space for creation. In his poems and plays, West Indian history becomes a realm of necessity, something to be confronted, contested, and remade through literature. What is most vexed and inspired in Walcott's work can be traced to this quixotic struggle. Linking extensive archival research and new interviews with Walcott himself to detailed critical readings of major works, Nobody's Nation will take its place as the definitive study of the poet.
Apparently many people find me amusing It is not my intention to be amusing but in dealing with the opposite sex dignity pride boredom and humility I have found that I am not perfect This book includes short vignettes that others might identify with and thus help them look at their life
Since the turn of the new millennium English-language verse has entered a new historical phase, but explanations vary as to what has actually happened and why. What might constitute a viable avant-garde poetics in the aftermath of such momentous developments as 9/11, globalization, and the financial crisis? Much of this discussion has taken place in ephemeral venues such as blogs, e-zines, public lectures, and conferences. Nobody’s Business is the first book to treat the emergence of Flarf and Conceptual Poetry in a serious way. In his engaging account, Brian M. Reed argues that these movements must be understood in relation to the proliferation of digital communications technologies and their integration into the corporate workplace. Writers such as Andrea Brady, Craig Dworkin, Kenneth Goldsmith, Danny Snelson, and Rachel Zolf specifically target for criticism the institutions, skill sets, and values that make possible the smooth functioning of a postindustrial, globalized economy. Authorship comes in for particular scrutiny: how does writing a poem differ in any meaningful way from other forms of "content providing"? While often adept at using new technologies, these writers nonetheless choose to explore anachronism, ineptitude, and error as aesthetic and political strategies. The results can appear derivative, tedious, or vulgar; they can also be stirring, compelling, and even sublime. As Reed sees it, this new generation of writers is carrying on the Duchampian practice of generating antiart that both challenges prevalent definitions or art and calls into question the legitimacy of the institutions that define it.
The difference between fiction and real life is that fiction has to make sense; real life doesn't. So I'll leave it to you to decide whether these stories are true, or whether I just made them up.
When Laura Page returns to the remote Holderness village of Welwick, it is to try and discover the mystery of her mother Susannah's early life. Now a prosperous businesswoman in Hull, Susannah never speaks of her childhood, when she was brought up with the terrible stigma of bastardy - of being nobody's child. Susannah's own mother, Mary-Ellen, born into poverty and living in a labourer's cottage, had the misfortune to fall in love with a local landowner's son. She was his one and only great love, but was unable to acknowledge their child and had to watch her growing up in hardship. As the years passed and Laura began to be curious about her mother's past, so too did she become aware of the mystery about her own father.