Herbalist and ex-lawyer China Bayles is “in a class with lady sleuths V. I. Warshawski and Stephanie Plum” (Publishers Weekly). In Widow’s Tears, a haunted house may hold the key to solving the murder of one of China’s friends… After losing her family and home in the Galveston Hurricane of 1900, Rachel Blackwood rebuilt her house a hundred miles inland and later died there, still wrapped in her grief. In present-day Texas, Claire, the grandniece of Rachel’s caretaker, has inherited the house and wants to turn it into a bed-and-breakfast. But she is concerned that it’s haunted, so she calls in her friend Ruby—who has the gift of extrasensory perception—to check it out. While Ruby is ghost hunting, China Bayles walks into a storm of trouble in nearby Pecan Springs. A half hour before she is to make her nightly deposit, the Pecan Springs bank is robbed and a teller is shot and killed. Before she can discover the identity of the killers, China follows Ruby to the Blackwood house to discuss urgent business. As she is drawn into the mystery of the haunted house, China opens the door on some very real danger…
A Select Collection of Old Plays: The roaring girl; The widow's tears; The white devil, or Vittoria Corombona; The hog hath lost his pearl; The four prentices of London
A Select Collection of Old Plays: The roaring girle; The widow's tears; The white devil; The hog hath lost his pearl; The foure prentises of London
The roaring girle, or, Moll Cut-purse. The widow's tears. The white devil, or, Vittoria Corombona. The hog hath lost his pearl. The foure prentises of London, with the conquest of Jerusalem
Concerning itself with the complex interplay between iconoclasm against images of the Virgin Mary in post-Reformation England and stage representations that evoke various 'Marian moments' from the medieval, Catholic past, this collection answers the call for further investigation of the complex relationship between the fraught religio-political culture of the early modern period and the theater that it spawned. Joining historians in rejecting the received belief that Catholicism could be turned on and off like a water spigot in response to sixteenth-century religious reform, the early modern British theater scholars in this collection turn their attention to the vestiges of Catholic tradition and culture that leak out in stage imagery, plot devices, and characterization in ways that are not always clearly engaged in the business of Protestant panegyric or polemic. Among the questions they address are: What is the cultural function of dramatic Marian moments? Are Marian moments nostalgic for, or critical of, the 'Old Faith'? How do Marian moments negotiate the cultural trauma of iconoclasm and/or the Reformation in early modern England? Did these stage pictures of Mary provide subversive touchstones for the Old Faith of particular import to crypto-Catholic or recusant members of the audience?
Is jealousy eliminable? If so, at what cost? What are the connections between pride the sin and the pride insisted on by identity politics? How can one question an individual's understanding of their own happiness or override a society's account of its own rituals? What makes a sexual desire "perverse," or particular sexual relations (such as incestuous ones) undesirable or even unthinkable? These and other questions about what sustains and threatens our identity are pursued using the resources of philosophy, psychoanalysis, and other disciplines. The discussion throughout is informed and motivated by the Spinozist hope that understanding our lives can help change them, can help make us more free.
'This is a wonderful, beautiful little book. It is like a quiet, wise friend, full of comfort and practical counsel, when your world has collapsed or changed beyond recognition. It is like a crib sheet of how to cope; it is as helpful to friends of widows as to the widows themselves, and it is written from experience, which is the bedrock of reliable advice' Joanna Lumley When Jan Robinson's husband died suddenly and unexpectedly, she had the idea of asking any other widows, whenever and wherever she met them, for two tips about how to deal with widowhood – anything that came to mind, whether it was what to do or what not to do, however seemingly unimportant. That is how Tips from Widows started. Grief is an unmanageable emotion and the form it takes is unique to every woman whose husband or partner has died. There are no set rules about coping with loss. Some people struggle with it for years and maybe never get over it. Others manage to move on. This book makes no claim to be an authority on how to cope as a widow, nor does it set out to offer a thorough analysis of widowhood. It is, quite simply, tips from widows. You may be alone in your boat on the ocean, but Tips from Widows will help you to recognise that other boats are out there too.
With her signature warmth, hilarity, and tendency to overshare, Leslie Gray Streeter gives us real talk about love, loss, grief, and healing in your own way that "will make you laugh and cry, sometimes on the same page" (James Patterson). Leslie Gray Streeter is not cut out for widowhood. She's not ready for hushed rooms and pitying looks. She is not ready to stand graveside, dabbing her eyes in a classy black hat. If she had her way she'd wear her favorite curve-hugging leopard print dress to Scott's funeral; he loved her in that dress! But, here she is, having lost her soulmate to a sudden heart attack, totally unsure of how to navigate her new widow lifestyle. ("New widow lifestyle." Sounds like something you'd find products for on daytime TV, like comfy track suits and compression socks. Wait, is a widow even allowed to make jokes?) Looking at widowhood through the prism of race, mixed marriage, and aging, Black Widow redefines the stages of grief, from coffin shopping to day-drinking, to being a grown-ass woman crying for your mommy, to breaking up and making up with God, to facing the fact that life goes on even after the death of the person you were supposed to live it with. While she stumbles toward an uncertain future as a single mother raising a baby with her own widowed mother (plot twist!), Leslie looks back on her love story with Scott, recounting their journey through racism, religious differences, and persistent confusion about what kugel is. Will she find the strength to finish the most important thing that she and Scott started? Tender, true, and endearingly hilarious, Black Widow is a story about the power of love, and how the only guide book for recovery is the one you write yourself.