When an opportunity to join the Mechanized Infantry presents itself, Pete is first in line. He knows that he's going to get shot at one way or another, but the idea of sitting in a warm and more importantly, dry mechanized suit appeals to him almost beyond reason. While still training in the jungle, Pete's squad is called out to intervene in a skirmish in a nearby village. Of course, the Marines haven't seen fit to certify his squad with ordnance. The fact that they'll be up against a platoon of squishies doesn't convince him that's it's any better of an idea and things turn quickly to crap when they discover the squishies are protected by grav-tanks. Pete, Popeye and Olive is a fast paced, short-story with plenty of action.

    Examining the ancient poetry and myths found in African, Latin American, and Caribbean culture, and particularly the Yoruba trickster figure of Esu-Elegbara and the Signifying Monkey whose myths help articulate the black tradition's theory of its literature, Gates uncovers a unique system for interpretation and a powerful vernacular tradition that black slaves brought with them to the New World. His critical approach relies heavily on the Signifying Monkey--perhaps the most popular figure in African-American folklore--and signification and Signifyin(g). Exploring signification in black American life and literature by analyzing the transmission and revision of various signifying figures, Gates provides an extended analysis of what he calls the Talking Book, a central trope in early slave narratives that virtually defines the tradition of black American letters. Gates uses this critical framework to examine several major works of African-American literature--including Zora Neale Hurston's Their Eyes Were Watching God, Ralph Ellison's Invisible Man, and Ishmael Reed's Mumbo Jumbo--revealing how these works signify on the black tradition and on each other. The second volume in an enterprising trilogy on African-American literature, The Signifying Monkey--which expands the arguments of Figures in Black--makes an important contribution to literary theory, African-American literature, folklore, and literary history.

    It is not primarily concerned with specific pictures and the things people say about them, but rather with the way we talk about the idea of imagery, and all its related notions of picturing, imagining, perceiving, likening, and imitating. It is a book about images, therefore, that has no illustrations except for a few schematic diagrams, a book about vision written as if by a blind author for a blind reader. If it contains any insight into real, material pictures, it is the sort that might come to a blind listener, overhearing the conversation the sighted speakers talking about images. My hypothesis is that such a listener might see patterns in these conversations that would be invisible to the sighted participant.

    In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose materialist metaphysics he admired) were the prototype, the 19th century ur-form of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time--from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons--as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south--Moscow Paris, Berlin-Naples--and shows how such thinking in coordinates can explain his understanding of dialectics at a standstill. She argues for the continuing relevance of Benjamin's insights but then allows a set of afterimages to have the last word.

    

    Just enough time for this soldier to take a break. I arrive when my family is in a land war. The only way to end it, is get married with an heir on the way. This homecoming sucks. The last thing I expect is for a gorgeous curvy doc to show up at my door. She says she wants to help veterans any way she can. I have an idea, one that will solve all our problems. She can have my baby. Gretchen says she can’t get pregnant—it would take a miracle. Well, I have a miracle c*ck that will do the trick. Time is running out for us both. She’s ready to give me everything I want and more. But I’ve always been a loner and giving Gretchen my heart, might be the hardest battle I’ve ever fought. **Delta's Baby Surprise guarantees a HEA, a protective alpha Delta Force soldier and no cheating. There is an EXCLUSIVE book included, not available anywhere else.**

    She is beautiful and a talented free-spirit who is happiest when lost in the world of her art, painting. There are several local men who would love to marry her, as there is a serious shortage of women in Bozeman, MT in the 1890's. Elizabeth has seen her own brothers send for mail-order brides. Emma was the first young woman to move East from Boston to marry Ethan. Several of Emma's friends followed, Julia, Colleen, Brianna, Maeve and Fiona. But Elizabeth is in no hurry to marry either of the local men. No one has captured her heart in the same way that her childhood neighbor Julian did. Theirs was an innocent, but strong love and their future seemed all but certain to Elizabeth, until something terrible happened. No one has ever said exactly what he supposedly did, but Julian was sent away, when Elizabeth was just thirteen. Her family said it was for the best, given what happened and it was made clear to her that should he ever return, Elizabeth would be strictly forbidden from having anything to do with him. Elizabeth thought she'd put Julian out of her mind, considered him gone and part of her past. But when he suddenly returns, all the familiar feelings surface and what she is finally told that he has done, doesn't reconcile with the person standing before her. Elizabeth is determined to uncover the truth, to prove that Julian is the man she believes him to be.

    His ‘natural supernaturalism’, personal mythology and vision can leave readers dazzled by the intensity and passion of his verse. In this outstanding work, Chesterton goes right to the heart of the matter and addresses the question of whether Blake’s genius was tainted by madness or whether his peculiar outlook on the world was the key to his success. With a detailed exposition of Blake’s life, and by weaving lucid explanations of his philosophy and religion into a discourse on his poetry, Chesterton has produced a remarkable and sensitive biography.

    Tally Jr. explores differing aspects of the spatial in literary studies today, providing:An overview of the spatial turn across literary theory, from historicism and postmodernism to postcolonialism and globalization Introductions to the major theorists of spatiality, including Michel Foucault, David Harvey, Edward Soja, Erich Auerbach, Georg Lukacs, and Fredric Jameson Analysis of critical perspectives on spatiality, such as the writer as map-maker, literature of the city and urban space, and the concepts of literary geography, cartographics and geocriticism.This clear and engaging study presents readers with a thought provoking and illuminating guide to the literature and criticism of 'space'.

    Four novellas. All quick reads for mature audiences only. Happily ever afters are guaranteed!

    The aim of the series is to give readers accessible and informative introductions to some of the most popular, most acclaimed and most influential novels of recent years - from ‘The Remains of the Day' to ‘White Teeth'. A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a thorough and readable analysis of each of the novels in question.

    From "Accuracy" to "Wound," "Adam" to "Void," "Babel" to "Silence," these cross-referential, highly associative entries comprise an utterly singular work of art. A Whaler’s Dictionary is the mesmerizing product of a total immersion into one of the greatest novels in the English language.

    As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects—a dynamic that Robin Bernstein calls “racial innocence.” This phenomenon informed racial formation from the mid-19th century through the early 20th century.Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as “scriptive things” that invite or prompt historically located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions, from blackface minstrelsy to Uncle Tom’s Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how “innocence” gradually became the exclusive province of white children—until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.Writing in Children’s Literature, Philip Nel notes that Racial Innocence is “one of those rare books that shifts the paradigm—a book that, in years to come, will be recognized as a landmark in children’s literature and childhood studies.” In the journal Cultural Studies, reviewer Aaron C. Thomas says that Bernstein’s “theory of the scriptive thing asks us to see children as active participants in culture, and, in fact, as expert agents of the culture of childhood into which they have been interpellated. In this way, Bernstein is able not only to describe the effects of 19th-century radicalization on 21st century US culture, but also to illuminate the radicalized residues of our own childhoods in our everyday adult lives.” Racial Innocence was awarded the 2012 Outstanding Book Award from the Association for Theatre in Higher Education, and the award committee noted that the book “is a historiographic tour de force that traces a genealogy of the invention of the innocent (white) child and its racialized roots in 19th and 20th century U.S. popular culture.”

    Then, in performing posthumanist readings of such diverse works as Temple Grandin's writings, Wallace Stevens's poetry, Lars von Trier's Dancer in the Dark, the architecture of Diller+Scofidio, and David Byrne and Brian Eno's My Life in the Bush of Ghosts, he shows how this philosophical sensibility can transform art and culture.For Wolfe, a vibrant, rigorous posthumanism is vital for addressing questions of ethics and justice, language and trans-species communication, social systems and their inclusions and exclusions, and the intellectual aspirations of interdisciplinarity. In What Is Posthumanism? he carefully distinguishes posthumanism from transhumanism (the biotechnological enhancement of human beings) and narrow definitions of the posthuman as the hoped-for transcendence of materiality. In doing so, Wolfe reveals that it is humanism, not the human in all its embodied and prosthetic complexity, that is left behind in posthumanist thought.

    She has a lot to learn and even more to prove. But she won’t let her family down, especially when it looks like they could lose everything to their biggest rivals – the Stoker family.Eldest son Sebastian hasn’t got time to pander to pretty girl Samantha as she plays at being boss. Rumours are swirling around the streets of Birmingham that have the power to rip the Stoker family apart and destroy everything they’ve built.And Seb will stop at nothing to ensure that in this takeover, only one will succeed.A gripping new gangland story perfect for fans of Kimberley Chambers, Heather Atkinson and Caz Finlay.