Years of trying unsuccessfully to conceive a child have broken more than Angie DeSaria’s heart. Following a painful divorce, she moves back to her small Pacific Northwest hometown and takes over management of her family’s restaurant. In West End, where life rises and falls like the tides, Angie’s fortunes will drastically change yet again when she meets and befriends a troubled young woman. Angie hires Lauren Ribido because she sees something special in the seventeen-year-old. They quickly form a deep bond, and when Lauren is abandoned by her mother, Angie offers the girl a place to stay. But nothing could have prepared Angie for the far-reaching repercussions of this act of kindness. Together, these two women—one who longs for a child and the other who longs for a mother’s love—will be tested in ways that neither could have imagined.
Love may hurt, but not loving hurts even more . . . January Wild loves her daughter, her dog Spud and her childhood home by the sea. Single parenting is tough, but January has no regrets. She has a job she loves, a happy home, and the support of her beloved grandfather. The arrival of a new boss, however, threatens to shake up January's safe world. Ward Metcalfe loves great sales results and a well-run office. Everyone at her office agrees: Ward is a soulless, corporate slave driver. Even Spud, the company mascot, dislikes him. A secret stands between them. Yet over time January realises first impressions aren't always right. Slowly she unravels more and more about her new boss, things she couldn't possibly have imagined, nor expected...
For fans of Maeve Binchy and Sheila O'Flanagan, 'this is a feelgood book you won't be able to put down' (Irish Independent) One crisp September evening art teacher Audrey Matthews sits alone in room six at Carrickbawn Senior College, wondering if anyone is going to sign up for her Life Drawing for Beginners class. By eight o'clock six people have arrived. Six strangers who will spend two hours together every week until Halloween, learning the fine art of life drawing. Nobody could have predicted on that cold autumn day the profound effect the class would have on its students and their lives. Least of all Audrey, the biggest beginner of all, who is to discover that once you keep an open mind, life - and love - can throw up more than a few surprises ...
It is 1969 and in the small English town of Kingshaven, eight year old Julia Allsop wants to be a princess.But a fairytale wedding doesn't necessarily mean happily ever after, and Julia discovers that life is more complicated than dreams of romance... On the other side of town, nineteen-year old feminist Iris Quinn hopes to find independence and a successful career in London,but a passionate, clandestine affair threatens to destroy everything she believes in... The tangled lives of two very different women and their families unfold across two decades of a rapidly changing world:from glass slippers to glass ceilings via Glam Rock, Grease and Greenham Common, Julia and Iris risk all in their search for fulfillment and love. Whatever love means....
France: February, 1944. Arianne knew Luc as a child, of course she did. Everyone in Samaroux knows each other. But he's been away, and five years really makes a difference to a boy. A young man. As they fall headily into love - first love - their world starts to crumble around them. German forces are closing in, and the village is torn between cooperating to save themselves or putting up resistance and entering unknown danger. Arianne will do anything to make Luc stay. Luc wants to prove he is a man. And Romy, who has loved Arianne all the time that Luc has been away, can see a way of removing his rival, at any cost. How far will they go to protect what they believe in? And what will they do for love?
Ten years ago, Jesse Law was a twenty-year-old with the world at his feet. After surviving a painful, often lonely childhood as the youngest child in a music dynasty, he forged a high-profile career, blazing a path on the charts later followed by the likes of Usher and Justin Timberlake. Those heady times are far in the past now, and Jesse's life is far richer thanks to his emerging values, the love of his wife, Dionne, and a lower-key but fulfilling career as lead singer of the gospel group. As far as he has come, though, Jesse's days are burdened by a shameful reality.
Hola, Cuties! I’m Jacinda Gonzalez, almost twelve. Although I think I’m pretty nice, not to mention way cool and one of the most knowledgeable people in all things horse, I just can’t make any friends in my new school. The only things flying my way are totally rude insults. The horseback riding therapy farm where I volunteer becomes my perfect escape from mean bullies. And when Angel, a scrawny, muddy American Curly, shows up as rescue, no one but me can see her potential and lovableness, so I take her on as a project horse to get her ready for sale. But, the thing is, I don’t want them to sell her. She’d be so perfect for therapy. So perfect. Now, if only I could prove it. Anyway, Angel’s sugar-candy personality inspires me to be sweet in spite of bad things happening to me. So, of course, I can’t resist the urge to make the world a whole lot brighter. Come on in and see how I do it! Middle Grade, Children's book, ages 6-8, 10-12, and up. A clean, cute, touching story for any lover of horses. American Curly Horse. Girls, bullying, friendship, multi-ethnic, handi-capable, diverse kid's book, farm life, horse rescue.
Joanna is swept away by her feelings for Zach as they grow increasingly passionate with each other. She's doing things she'd never normally do but it's like God has whispered in her heart Zach is the one for her. Can it be true love when you're only fifteen? One of the highest rated books in the US iBookstore rated 4.5 stars with over 3000 reviews.
Emersonian Perfectionism and the Films of Alfred Hitchcock
Author: William Rothman
Publisher: Columbia University Press
Category: Performing Arts
William Rothman argues that the driving force of Hitchcock's work was his struggle to reconcile the dark vision of his favorite Oscar Wilde quote, "Each man kills the thing he loves," with the quintessentially American philosophy, articulated in Emerson's writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the murderous villain and godlike author, Hitchcock, who pulls the villain's strings—and ours. Because Hitchcock believed that the camera has a murderous aspect, the question "What if anything justifies killing?," which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock's career, Rothman discerns a progression in the films' meditations on murder and artistic creation. This progression culminates in Marnie (1964), Hitchcock's most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted. Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock's way of thinking cinematically and the philosophical way of thinking Emerson's essays exemplify. He finds that the terms in which Emerson thought about reality, about our "flux of moods," about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general.