This study guide includes the following sections: Plot Summary, Chapter Summaries & Analysis, Characters, Objects/Places, Themes, Style, Quotes, and Topics for Discussion.

    In classic Western style, readers will follow Henry’s journey as he tries to right his wrongs. He is tested along the way with a cast of characters out for blood. Of his many exciting encounters, his chance meeting with Killer Miller has the most impact on his future. When circumstances force Henry to make a decision that will alter his entire identity, will he take a chance on this killer?

    He is destined to make history like John Glenn and Neil Armstrong. Pierce’s idyllic world screeches to a halt when, three weeks before the historic flight, his wife is killed in a tragic car accident.Determined to carry on with the groundbreaking flight in spite of his grief, Pierce is changed forever when, during the flight, his body is transformed into light. The shock of it all puts Pierce into a deep coma and when he wakes time is not relevant to his mind. Suddenly able to step into visions of the past, Pierce struggles to make sense of what he sees as he learns that his wife’s death was not an accident, but murder and her murderers are after him. As Pierce and the beautiful attorney, Vanessa Trace, sort through the bizarre attacks on Pierce and his vivid visions of the past, they cannot substantiate any evidence to his claims. In a frantic race to stay alive, Pierce and Vanessa find themselves matching wits with a conspiracy with seemingly endless resources and a police department convinced Pierce is a murderer, while at the same time they question whether or not Pierce himself is crazy.Standing out from traditional suspense novels, Speed of Light is fast-paced, intelligent and intricately layered with mind expanding concepts.

    Instead, she found a city in revolt, and now both sides are after her to control the alien gifts engineered into her DNA. Her only ally is an offworld investigator trying to get to the bottom of the explosive mix of on-planet and alien politics... but his secrets are even deadlier than her own. From the back alleys of the souk to the depths of alien ruins, they're now in a desperate fight to stop the revolution before everything is lost!

    She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

    In The Location of Culture, he uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. Speaking in a voice that combines intellectual ease with the belief that theory itself can contribute to practical political change, Bhabha has become one of the leading post-colonial theorists of this era.

    The turbulent political weather of the twenty-first century generates anxiety and makes it difficult to know how to react. Olivia Laing makes a brilliant, inspiring case for why art matters more than ever, as a force of both resistance and repair. Art, she argues, changes how we see the world. It gives us X-ray vision. It reveals inequalities and offers fertile new ways of living.Funny Weather brings together a career’s worth of Laing’s writing about art and culture, and their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O’Keeffe, interviews Hilary Mantel and Ali Smith, writes love letters to David Bowie and Wolfgang Tillmans, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, Funny Weather celebrates art as an antidote to a terrifying political moment.

    Make way for Charlie Smithers.The time is the nineteenth century. The place, the Serengeti Plain, where one Charlie Smithers – faithful manservant to the arrogant bone-head, Lord Brampton (with five lines in Debrett, and a hopeless shot to boot) – becomes separated from his master during an unfortunate episode with an angry rhinoceros, thereby launching Charlie on an odyssey into Deepest Darkest Africa, and subsequently into the arms of the beautiful Loiyan…and that’s where the trouble really begins.Maasai warriors, xenophobic locals, or evil Arab slavers, the two forbidden lovers encounter everything that the unforgiving jungle can throw at them."A truly engaging read that will keep anyone’s attention from the hilarious beginning until the last word. I highly recommend this 5 star novel." ~ Chapters & Chats

    His colleague Jesse Holden has hooked him up with a fill-in position on a multimillion dollar renovation on an isolated 1920s southern mansion called Hidden Meadow. The job is being run by a driven female contractor, Kiki Pickles, who specializes in renovating prewar buildings. She lets Cid know right away that she’s hired him for his carpentry skills and not as a ghost hunter. But Cid is all too aware that in the renovation of old homes, sometimes you have to deal with a myriad of pests, living and dead.Lurking at the top of the stairs is a very cranky ghost. He’s been woken up by the sound of pounding hammers and screeching tile cutters. He can’t do anything about the tools themselves, so he targets his rage at the men and women working on the mansion. Jesse is attacked in one of the three attics in Hidden Meadow and left to die. Cid arrives just in time to fight a black mass, and he surprises it with a good salting. Jesse is saved, but the ghost isn’t finished with them yet, nor is he the only entity that has been released to cause havoc in the first of the “Cid Garrett P. I.” novels.“Cid” is a standalone book written in the “Haunted Series” universe.

    Lenoble de Beaubocage, but he did not insist upon this distinction; and on sending out his only son to begin the battle of life in the great world of Paris, he recommended the young man to call himself Lenoble, tout court.

    Focusing especially on the incompatible philosophical systems of Hegel and Heidegger within the space of negativity, Giorgio Agamben offers a rigorous reading of numerous philosophical and poetic works to examine how these issues have been traditionally explored. Agamben argues that the human being is not just “speaking” and “mortal” but irreducibly “social” and “ethical.” Giorgio Agamben teaches philosophy at the Collège International de Philosophie in Paris and at the University of Macerata in Italy. He is the author of Means without End (2000), Stanzas (1993), and The Coming Community (1993), all published by the University of Minnesota Press. Karen E. Pinkus is professor of French and Italian at the University of Southern California. Michael Hardt is professor of literature and romance studies at Duke University.

    Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text.Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television."We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect.The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance.These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination.In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

    Déjà Vu set in when Jackson Sonnier paid a visit to Green Bayou, but despite the unforeseen circumstances, she managed to overcome many obstacles to find a life with the man she loved. Then came the ultimate hurt, Emily was deceived by someone she thought she could trust. Now Vengeance will be hers!

    His clear and accessible primer on literary theory was (and is) an indispensable guide to the post-modern era in the humanities. Now Eagleton argues that the golden age of cultural theory has ended, and with characteristic wit and verve, he traces its rise and fall from structuralism to post-colonial studies and beyond. In a new era of globalization and terrorism, Eagleton warns, the bundle of ideas known as post-modernism is essentially toothless. In this eloquent synthesis of a lifetime of learning, Eagleton challenges contemporary intellectuals to engage with a range of vital topics-love, evil, death, morality, religion, and revolution-that they've ignored over the past thirty years. Lively and provocative, Eagleton's latest will engage readers inside and outside the academy who are eager for a more holistic and humane way of "reading" the world. "A rare opportunity to enjoy the art of cultural and social diagnosis at its purest! Eagleton offers a unique combination of theoretical stringency and acerbic common-sense witticism, of critical historical reflection and the ability to ask the 'big' metaphysical questions." -- Slavoj Zizek

    Through brilliant readings of poems by Bishop, Frost, Kunitz, Lawrence, and others, Voigt examines the signature musical scoring writers deploy to orchestrate meaning. "This structure—this architecture—is the essential drama of the poem's composition," she argues. The Art of Syntax is an indispensable book on the writer's craft by one of America's best and most influential poets and teachers.