![]() In three years of raiding the north, he had lost only one minor skirmish and returned the following day to destroy the tribe before word could spread. ![]() ![]() All his equipment was battered, but the man himself remained as hard and unforgiving as the winter earth. His helmet was marked where it had saved his life more than once. His armor of iron scales over leather was well worn, with holes and rust in many places. Tsubodai was a general to the Great Khan, and it showed in the way he held himself. When they halted to listen, it was as if silence rolled back in over the dusty ground. The Mongols could have been alone for a thousand miles, with just creaking leather and snorting ponies to break the stillness. The morning was quiet and the land seemed empty as the two men rode at the head of a narrow column, a jagun of a hundred young warriors. ![]() Dark clouds drifted above, making bands of shadow march across the earth. ![]()
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![]() ![]() ![]() Her white-knuckle grip on the rail was only partly due to the nausea that had rocked her on the water. It took the air from the lieutenant’s chest. Around her, pale Balladairan-born sailors scrambled across the ship to bring it safely to harbor.Įl-Wast, for the first time in some twenty-odd years. Its rearing golden horse danced to life, sparked by the reflection of the night lanterns. Even from this distance, in the early-morning dark, she could see a black Balladairan standard flapping above the docks. ![]() The city where Touraine was born.Īt a sudden gust, Touraine pulled her black military coat tighter about her body and hunched small over the railing of the ship as it approached land. City of rebellious, uncivilized god-worshippers. City of the golden sun and fruits Touraine couldn’t remember tasting. City of marble and sandstone, of olives and clay. A sandstorm brewed dark and menacing against the Qazāli horizon as Lieutenant Touraine and the rest of the Balladairan Colonial Brigade sailed into El-Wast, capital city of Qazāl, foremost of Balladaire’s southern colonies.Įl-Wast. ![]() ![]() ![]() Karen did this, and Ben, a German shepherd, dragged her back into life. ![]() The Underdogs tells the story of Karen Shirk, felled at age twenty-four by a neuromuscular disease and facing life as a ventilator-dependent, immobile patient, who was turned down by every service dog agency in the country because she was “too disabled.” Her nurse encouraged her to tone down the suicidal thoughts, find a puppy, and raise her own service dog. From two-time National Book Award nominee Melissa Fay Greene comes a profound and surprising account of dogs on the front lines of rescuing both children and adults from the trenches of grief, emotional, physical, and cognitive disability, and post-traumatic stress disorder. ![]() ![]() ![]() But as I researched Milly’s life, I was awed by her bravery and her vulnerability. ![]() I interviewed Carrie when she published her debut novel A Light of Her Own, and I’m delighted that she took the time to talk to me again, this time about Salt the Snow, despite her busy book launch month!Ĭlarissa: What inspired you to write Salt the Snow?Ĭarrie: I came across Milly Bennett while researching a different project, in which she was going to be a secondary character. I had the honour of reading an early version of this novel and couldn’t be happier that it’s now available to the public. ![]() This month my friend Carrie Callahan released her second historical novel, Salt the Snow, the fascinating story of American journalist Milly Bennett, who lived in Russia in the 1930’s. ![]() ![]() ![]() ![]() “He could not have borne this without Stephen, without the knowledge, under his own helpless fury, that his quite, determined, implacable lover was there fighting for him once again.”ģ2 bloody pages. Warning: Magical horror, strong language, and strange brews disguised as strong drink. Desperate to find the cause of the malady, Crane and his magician lover, Stephen Day, are in a race against time-to put an end to the magical assault and put to rest the painful memories resurrected by ghosts of the past. The outbreak hits close to home when Lord Crane’s manservant, Merrick, becomes the newest victim. ![]() A rash of ghost sightings, followed quickly by madness-and horrifying, eye-melting blindness. Genres & Themes: M/M Romance,Love, LGBT, Suspence, Ghosts, Historical Romance, FantasyĪs torrential rains wash away the stench of a London heat wave, another kind of wave is sweeping through the city streets. ![]() ![]() ![]() ![]() Any misgivings she had were put away for thought at another, less interesting time.” Another time, “His first kiss was gentle, the second passionate. “He kissed her gently, then passionately, and Alanna surrendered. ![]() She sleeps with him, but nothing more than kissing is ever described. Alanna gets involved with Liam, who is a Shang Dragon, a great warrior.When Alanna tells Coram that Liam didn’t touch her, Coram says, “maybe he’s plannin’ to.” Alanna responds, “Nothing wrong with that.”.“I’m not a village lad wanting to boast of having the Lioness’s pelt in my hut, Master Smythesson. Coram tries to warn Liam off, but Liam assures him that his interest in Alanna is because he likes her, not because she is famous.Alanna continues to be a likable heroine and a fun character to follow. Alanna takes a lover, as she did in book three, but there are no graphic descriptions and her relationship is not the main plot. There is slightly less fighting in this book than the others, but still plenty of excitement to keep readers engaged. Will she ever be welcomed back at court, or will she spend the rest of her life wandering along the edge of the world? Along with the reappearance of an old evil, Alanna must decide where she fits in. Lioness Rampant introduces enjoyable and richly developed characters. Luckily for Alanna, her life is quickly making her story legendary. She craves the sort of adventure that can only be found in legends. She has already accomplished the impossible by becoming a female knight, but that is not enough. ![]() ![]() ![]() She first lived in the family home of her mother, Regina, on Greene Street in Milledgeville, then owned by her uncles Louis and Bernard Cline. ![]() In 1951, Flannery O'Connor returned to her home state of Georgia, where she had grown up, after being diagnosed with a form of lupus. Hawkins had 100 enslaved people working the property, many of which were sold at the auction block next to the Presbyterian Church in Milledgeville. ![]() After Polly Stovall's death, the estate was purchased at a public auction by sometime mayor of Milledgeville, Nathan Hawkins, and later sold to Col. ![]() The plantation was worked by no less than 39 enslaved people owned by Stovall. The land on which Andalusia was first built had in the mid-19th century been a working plantation of between 1,500 and 1,700 acres owned and operated by Joseph and Mary "Polly" Stovall. It comprises 544 acres (2.20 km 2), including the plantation house where O'Connor wrote some of her last and best-known fiction. The estate is located in rural Georgia in Baldwin County, Georgia, approximately 4 miles (6.4 km) northwest of Milledgeville. ![]() ![]() ![]() The first account comes from Terri, who had at one point been the victim of an abusive relationship. The story begins as four friends sit around a table, downing cheap gin and engaging in a discussion about their relationships, both past and present. By juxtaposing Terri and Ed’s past relationship with Laura and Nick’s current one, Carver demonstrates that the right kind of love can both create good feelings and fill in the gaps that abusive love has caused. Carver’s “What We Talk about When We Talk about Love,” however, causes the reader to reconsider this notion and instead consider the possibility that there is also an evil, empty type of love that counters the positive. In this regard, love is the ultimate dream because it is so frequently associated with self-completion. ![]() ![]() ![]() In conceiving the story, Carver apparently assumes that many of his readers were raised on the notion of fairy tale love. Raymond Carver’s short story “What We Talk about When We Talk about Love” looks at love through two very different lenses. Analysis of Raymond Carver’s What We Talk about When We Talk about Love ![]() ![]() “I use my body as a stand-in, but I never think of it as being about me," she has said. ![]() The character is portrayed by Weems herself, though she isn't necessarily a self-portrait. Originally completed in 1990 and consisting of 20 photos and 14 text panels, Weems's The Kitchen Table Series tells the story of one woman's life as it unfolds around a kitchen table. The woman's fears, shortcomings, desires, and loves were centered in a way that felt powerful. She was the protagonist and antagonist, the love interest, the narrator, the head of the table-she was in control of how the viewers saw her. In all of the different scenes of love, exhaustion, boredom, playfulness-oriented around the titular kitchen table-the woman occupied a space I had very rarely seen in art at that point. ![]() Courtesy of Jack Shainman GalleryWhen I first saw photos from Carrie Mae Weems's The Kitchen Table Series as a college student, I remember being entranced by the Black woman who inhabited nearly every frame. "Untitled (Woman standing alone)" is part of artist Carrie Mae Weems's The Kitchen Table Series. ![]() ![]() ![]() In analyzing Africans' responses to colonial oppression, Allina documents how some Africans succeeded in recovering degrees of sovereignty, not through resistance, but by placing increasing burdens on fellow Africans - a dynamic that paralleled developments throughout much of the continent. Putting elders' voices into dialogue with officials' reports, Eric Allina reconstructs this modern form of slavery, explains the impact this coercive labor system had on Africans' lives, and describes strategies they used to mitigate or deflect its burdens. Oral testimonies from more than one hundred Mozambican elders provide a vital counterpoint to the perspectives of colonial officials detailed in the archival records of the Mozambique Company. In the late nineteenth and twentieth centuries, the company governed central Mozambique under a royal charter and built a vast forced labor regime camouflaged by the rhetoric of the civilizing mission. ![]() Based on documents from a long-lost and unexplored colonial archive, Slavery by Any Other Name tells the story of how Portugal privatized part of its empire to the Mozambique Company. ![]() |