Stephanie Wright

Tervetuloa Pohjoismaiden suurimpaan verkkokirjakauppaan! Adlibris kannattaa sananvapautta, ja haluamme edistää kirjallisuuden ja tiedon saatavuutta.

As the murder of fifteen-year-old Faith Morgan brings her family to their knees, old secrets and resentments stir. Pushing his own marriage to the brink, head of the local joint law enforcement center Lieutenant Hunter Leighton vows a very personal vengeance once he catches the people responsible, while the marriage of Grace and Cash Morgan becomes an unexpected refuge in the wake of their daughter's death. The small town of Mosaic, Georgia, happy to pass its sleepy days under porch fans with lemonade and gossip, knows little more than the occasional burglary or inebriated driver, all of whom Hunter arrests and most of whom Cash defends. As the only witness to Faith's murder, Mosaic holds everyone's secrets and decides when and how to reveal them, teaching the lesson that sometimes justice is a clear conscience. The Belief in Things Unseen spins a kaleidoscope of pages defining and redefining what it means love, hate, and be family and doesn't stop until the final page.

There is a traditional view that women were absent from the field of dramatic production in the early modern period because of their exclusion from professional theatre. Women and Dramatic Production 1550-1700 challenges this view and breaks new ground in arguing that, far from writing in closeted retreat, a select number of women took an active part in directing and controlling dramatic self-representations. Examining texts from the mid-sixteenth century through to the end of the seventeenth, the chapters trace the development of a women-centred aesthetic in a variety of dramatic forms. Plays by noblewomen such as Mary Sidney, Elizabeth Cary, Mary Wroth, Rachel Fane and the women of the Cavendish family, form an alternative dramatic tradition centred on the household. The powerful directorial and performative roles played by queens in royal progresses and masques are explored as examples of women's dramatic production in the royal court. The book also highlights women's performances in alternative venues, such as the courtroom and the pulpit, arguing that the practices of martyrs like Margaret Clitherow or visionaries like Anna Trapnel call into question traditional definitions of theatre. The challenges faced by women who were admitted to the professional theatre companies after 1660 are explored in two chapters which deal with the plays of Katherine Philips, Elizabeth Polwhele, Aphra Behn, and Mary Pix, among others. By considering the theatrical dimensions of a wide range of early modern women's writing, this book reveals the breathtaking panorama of women's dramatic production and will be essential reading for students of women's writing and renaissance drama.