Luisa's parents were European born Italian Catholics rich in Italian traditions so when Luisa announces that she is marrying a Russian Jewish boy, both sides of the family reject their relationship. Soon their love crosses the ethnic barriers and both families would come to love and respect each other. Widowed at a young age, Luisa marries again only to encounter countless disappointments with her new relationship and faces a medical challenge that will thrust her and her daughter into a new and remarkable relationship.

Collects the writer's letters, revealing her observations, struggles, and triumphs

Louisa Susanna Cheves McCord (1810-1879) was one of the most remarkable figures in the intellectual history of antebellum America. A conservative intellectual, she broke the confines of Southern gender roles. Over the past decade historians have begun to pay attention to McCord and find her indespensible to understanding American culture. Among Southerners before the Civil War, she is ranked with Thomas Jefferson, George Mason, James Madison, Sarah Grimke, John C. Calhoun, George Fitzhugh, and Frederick Douglass. This volume collects all of her poetry, drama, and correspondence, her account of Sherman's occupation of Columbia, and a memoir of her father, politician and statesman Langdon Cheves. Its publication, together with the previously published Louisa S. McCord: Poltical and Social Essays, makes available all of Louisa McCords's varied writings.

The Morningstar Trilogy Chasing the Morningstar Readers of "Chasing New York" were left speculating what had happened to musical superstar Chase Morningstar's 2 year old daughter, Poppy. Kidnapped and long-thought dead, she stuns Chase with a simple handshake after his final concert and propels the Morningstars headlong into another captivating and exciting saga. Now, the rest of their incredible story unfolds. After fabricating their deaths, Poppy's maniacal step-mother is determined to keep them hidden. Encouraged by a supernatural guide, the child's true genetics begin to shine through and when a sudden tragedy initiates an unexpected new beginning, more truths unravel, eventually culminating in an epic Morningstar reunion. Supported by Chase, Charlie and a new best friend, Poppy sets off on an adventurous exploration of her musical roots. She follows in her family's footsteps until a malicious act of deceit, a desperate secret and a devious murderer threatens all she holds dear. Is the future of her gifted lineage in jeopardy? Poppy asks one last request of her beloved uncle, Charlie Morningstar and thus, The Morningstar Trilogy is complete!

DigiCat Publishing presents to you this special edition of "Louisa Pallant" by Henry James. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

In an unprecedented comparison of two of the most important female authors of the nineteenth century, Azelina Flint foregrounds the influence of the religious communities that shaped Louisa May Alcott’s and Christina Rossetti’s visions of female creativity. In the early stages of the authors’ careers, their artistic developments were associated with their patrilineal connections to two artistic movements that shaped the course of American and British history: the Transcendentalists and Pre-Raphaelites. Flint uncovers the authors’ rejections of the individualistic outlooks of these movements, demonstrating that Alcott and Rossetti affiliated themselves with their mothers and sisters’ religious faith. Applying the methodological framework of women’s mysticism, Flint reveals that Alcott’s and Rossetti’s religious beliefs were shaped by the devotional practices and life-writing texts of their matrilineal communities. Here, the authors’ iconic portrayals of female artists are examined in light of the examples of their mothers and sisters for the first time. Flint recovers a number of unpublished life-writings, including commonplace albums and juvenile newspapers, introducing readers to early versions of the authors’ iconic works. These recovered texts indicate that Alcott and Rossetti portrayed the female artist as a mouthpiece for a wider community of women committed to social justice and divine communion. By drawing attention to the parallels in the authors’ familial affiliations and religious beliefs, Flint recuperates a tradition of nineteenth-century women’s mysticism that departs from the individualistic models of male literary traditions to locate female empowerment in gynocentric relationships dedicated to achieving a shared revelation of God.