The hurricane of 1929 devastated Miami and affected Eveline Paines plans for a new life in South Florida. Ransom letters and threats of kidnapping her sons, Patrick and Andrew, led Eveline to gangsters and situations that forced her to relive her previous life in New York State. Many individuals from her past and present had been involved in attempts to undermine her wealth that she inherited from her late husband, Wallace Paine. After attempts and threats to kill Eveline, a detective from the Miami Police Department, Jonathon Bingham, is assigned to the case and proceeds to uncover more criminal activity than expected. Eveline had believed the corruption that was exposed years ago, and put to a trial in Rochester, New York, a few years earlier, had been concluded. She is still haunted by suspicious characters and circumstances that appear to be people and events from her former life in Geneva, NY. After many months of uncertainty, situations unfold causing Eveline to learn the truth about people in her past when she and Eleanor Roosevelt share lunch at the Biltmore Hotel. After learning new information, Eveline is forced to rethink and face what had happened many years ago. Being concerned about her future now, because everyone is either dead, in prison, or moved away, Eveline suffers from a recurring ailment that has implications for her future. From The House of Many Windows and The Spirit of Wallace Paine to The Haunting of Eveline Paine, Eveline is forced to overcome unbelievable odds which ultimately give her the freedom for a new life.

ÊIt was at a masked ball at the Palais Royal that my fatal quarrel with my first cousin AndrŽ de Brissac began. The quarrel was about a woman. The women who followed the footsteps of Philip of Orleans were the causes of many such disputes; and there was scarcely one fair head in all that glittering throng which, to a man versed in social histories and mysteries, might not have seemed bedabbled with blood. I shall not record the name of her for love of whom AndrŽ de Brissac and I crossed one of the bridges, in the dim August dawn on our way to the waste ground beyond the church of Saint-Germain des PrŽs. There were many beautiful vipers in those days, and she was one of them. I can feel the chill breath of that August morning blowing in my face, as I sit in my dismal chamber at my ch‰teau of Puy Verdun to-night, alone in the stillness, writing the strange story of my life. I can see the white mist rising from the river, the grim outline of the Ch‰telet, and the square towers of Notre Dame black against the pale-grey sky. Even more vividly can I recall AndrŽÕs fair young face, as he stood opposite to me with his two friendsÑscoundrels both, and alike eager for that unnatural fray. We were a strange group to be seen in a summer sunrise, all of us fresh from the heat and clamour of the RegentÕs saloonsÑAndrŽ in a quaint hunting-dress copied from a family portrait at Puy Verdun, I costumed as one of LawÕs Mississippi Indians; the other men in like garish frippery, adorned with broideries and jewels that looked wan in the pale light of dawn. Our quarrel had been a fierce oneÑa quarrel which could have but one result, and that the direst. I had struck him; and the welt raised by my open hand was crimson upon his fair womanish face as he stood opposite to me. The eastern sun shone on the face presently, and dyed the cruel mark with a deeper red; but the sting of my own wrongs was fresh, and I had not yet learned to despise myself for that brutal outrage.

Essay from the year 2008 in the subject English Language and Literature Studies - Literature, grade: 1,3, http://www.uni-jena.de/ (Institut für Anglistik/ Amerikanistik), course: Academic Writing, language: English, abstract: Usually, people, who are in love, do not care about what their families, and other people might think about them. They miss eachother when they are separated. All they want is being together. But in James Joyce’s short story Eveline the protagonist behaves very differently. Why does she not leave with her boyfriend Frank when there seems to be nothing that holds her back? There is a plausible explanation. Eveline is not in love with Frank, she only sees him as a chance to escape from her hard life. She only hopes for a better life, but does not trust Frank. Moreover, she never mentions that she loves him, and finally she decides not to go with him.

Dubliners is a collection of picturesque short stories that paint a portrait of life in middle-class Dublin in the early 20th century. Joyce, a Dublin native, was careful to use actual locations and settings in the city, as well as language and slang in use at the time, to make the stories directly relatable to those who lived there. The collection had a rocky publication history, with the stories being initially rejected over eighteen times before being provisionally accepted by a publisher—then later rejected again, multiple times. It took Joyce nine years to finally see his stories in print, but not before seeing a printer burn all but one copy of the proofs. Today Dubliners survives as a rich example of not just literary excellence, but of what everyday life was like for average Dubliners in their day. This book is part of the Standard Ebooks project, which produces free public domain ebooks.

This book examines works from twelve authors from colonized cultures who write in English: William Butler Yeats, James Joyce, Joseph Conrad, Chinua Achebe, Maxine Hong Kinston, Amy Tan, Toni Morrison, Alic Walker, Sandra Cisneros, Ana Castillo, Louise Erdrich, and Leslie Marmon Silko. The book fins connection among these writers and their respective works. Patsy Daniels argues that the thinkers and writers of colonized culture must learn the language of the colonizer and take it back to their own community thus making themselves translators who occupy a manufactured, hybdid space between two cultures.

Professor Bowen's book is more than a simple collection of musical allusions; it is an engaging discussion of how Joyce uses music to expand and orchestrate his major themes. The introductions to the separate sections, on each of Joyce's works, express a new and cohesive critical theory and reevaluate the major thematic patterns in the works. The introductory material proceeds to analyze the general workings of music in each particular book. The specific musical references follow, accompanied by their sources and an examination of the role each plays in the work. While the author considers the early works with equal care, the bulk of this volume explores the musical resonances of Ulysses, especially as they affect the style, structure, characterization, and themes. Like motifs in Wagnerian opera, some allusions introduce and later remind us of characters--bits of Molly's songs for instance constantly intrude her impending adultery on Bloom's consciousness. Other motifs are linked to concerns such as Stephen's Oedipal guilt over his mother's death, which in turn connects to his preoccupation with Shakespeare, the creator, the father, and the cuckold. Music helps create the bond which briefly joins Stephen and Bloom, and music augments the entire grand theme of consubstantiality. Professor Bowen's style is simple and clear, allowing Joycean artifice to speak for itself. The volume includes a bibliography.

A landmark collection of essays examining Joyce's relationship with Irish colonialism and nationalism.