'A hilarious account of life with the children of the super rich...well written...and very funny indeed' - BOOK OF THE WEEK Daily Mail 'A hilarious, behind-the-scenes memoir of the mad world of the very rich' Daily Telegraph 'Very funny...the book bursts with butlers, helicopters and Damien Hirsts' The Times 'There are so many laughs in this book, you almost forget how upsetting capitalism is' Simon Amstell A naked Russian oligarch is spanking me in his basement. His weapon is a birch branch, the setting his luxurious home sauna. Above us is 30,000 square feet of one of Moscow's most obscene private homes, an original Damien Hirst above the fireplace, a vacuum cleaning system built into the skirting boards. Invisible speakers serenade us with a desolate pan pipe cover of 'Bridge Over Troubled Water'. A light display rotates kaleidoscopically, illuminating the oligarch's genitals in a variety of unexpected hues. Everyone is silent. Then the oligarch's son Nikita looks at me with a mysterious smile. 'Now my mother will bring us honey.' Matt Knott spent over a decade traveling the globe as a private tutor. He has taught Shakespeare in Moscow, times tables in Tuscany, and is still trying to figure out how to explain long division. With brilliant honesty and wit, he takes us inside a world most of us only glimpse speeding past in a luxury SUV. Unfolding across four continents and featuring a colourful cast of butlers, billionaires and yummy mummies, this is a hilarious and touching chronicle of an unforgettable time.

Provides a fictionalized account, interspersed with factual information, of Ruby Bridges' experiences as the first African American child to attend a formerly all-white school in New Orleans at the age of six.

Miss Harriet Peabody dreams of the day she can open up a shop selling refashioned gowns to independent working women like herself. Unfortunately, when an errand for her millinery shop job goes sadly awry due to a difficult customer, she finds herself out of an income. Mr. Oliver Addleshaw is on the verge of his biggest business deal yet when he learns his potential partner prefers to deal with men who are settled down and wed. When Oliver witnesses his ex not-quite-fiance cause the hapless Harriet to lose her job, he tries to make it up to her by enlisting her help in making a good impression on his business partner. Harriet quickly finds her love of fashion can't make her fashionable. She'll never truly fit into Oliver's world, but just as she's ready to call off the fake relationship, fancy dinners, and elegant balls, a threat from her past forces both Oliver and Harriet to discover that love can come in the most surprising packages.

"One of the funniest voices in the inspirational genre."--Booklist Lucetta Plum is an actress on the rise in New York City, but is forced to abandon her starring role when a fan's interest turns threatening. Lucetta's widowed friend, Abigail Hart, is delighted at the opportunity to meddle in Lucetta's life and promptly whisks her away to her grandson's estate to hide out. Bram Haverstein may appear to simply be a somewhat eccentric gentleman of means, but a mysterious career and a secret fascination with a certain actress mean there's much more to him than society knows. Lucetta, who has no interest in Abigail's matchmaking machinations, has the best intentions of remaining cordial but coolly distant to Bram. But when she can't ignore the strange and mysterious things going on in his house, it'll take more than good intentions to keep her from trying to discover who Bram is behind the part he plays.

Since the Civil War, African Americans have made great efforts to empower themselves. Focusing on Norfolk, Virginia, Earl Lewis shows how blacks have had to balance competing inclinations for conscious inaction and purposeful agitation as they sought to promote their own interests at home and in the workplace. In Their Own Interests presents a cross-section of southern urban blacks—the power-brokers and lesser-knowns, Garvey followers and communist enthusiasts—who came to live in Norfolk between the Civil War and the Civil Rights Movement. Lewis seeks to recreate the texture of African-American life by examining the lives of the people after they moved to the city—the jobs and assistance they secured, the houses, families, and institutions they built, the battles they waged, and the culture they shared. In Their Own Interests moves African-American urban and social history beyond the current intellectual crossroads. Drawing on a variety of sources, Lewis tells the interconnected story of race, class, and power in twentieth-century Norfolk. His study has far-reaching implications and should be of wide interest.

Each boat has a story to tell and this book features nearly forty profiles of classic/uniqu e boats, drawn from articles written for the Westerly Sun newspaper during the summers of 2014 and 2015. Explore not only the histories of the individual vessels, but of their classes and designers, as well as their relationships to the environs in which they sailed, raced, cruised and, in some case, still operate as working vessels. These stories include the fabled history of the cat boat; the first fiberglass sailing yacht; a NY ferry boat repurposed as a houseboat; the oldest working fishing boat in Stonington, CT; racing rivalries in the Sound; the French love affair with American boat designs; and the Jazz Age era of luxury yachting, among others.

Class Politics The Movement for the Students’ Right to Their Own Language (2e) is a response to histories of Composition Studies that focused on scholarly articles and university programs as the generative source for the field. Such histories, particularly in the 1980s and 1990s divorced the field from activist politics—washing out such work in the name of disciplinary identity. Class Politics shows the importance of political mass movements in the formation of Composition Studies—particularly Civil Rights and Black Power. Class Politics also critiques how the field appropriates these movements. The book traces a pathway from social movement, to progressive academic groups, to their work in professional organizations, to the formation of the Students’ Right to Their Own Language. Stephen Parks then shows how the SRTOL was attacked and politically neutralized by conservative forces in the 1980s and 1990s, arguing for a return to politics to reanimate it’s importance—and the importance of politics in the field. “Stephen Parks restores politics to the history of Composition Studies.” —Richard Ohmann