A New York Times Notable Book of 2002 . Sexism, racism, self-hatred, and romantic love: all figure in prominently in this scholarly-but nicely hard-boiled-discussion of the bond between the famous Paul Laurence Dunbar and his wife Alice. Eleanor Alexander's analysis of turn-of-the-twentieth-century black marriage is required reading for every student of American, especially African-American, heterosexual relationships.. OCoNell Painter, Edwards Professor of American History, Princeton University, Author of Sojourner Truth, A Life, A Symbol. Rich in documentation and generous in analysis, Lyrics of Sunshine and Shadow advances our understanding of late nineteenth- and early twentieth-century African American social and cultural history in compelling and unexpected ways. By exposing the devastating consequences of unequal power dynamics and gender relations in the union of the celebrated writers, Paul Laurence Dunbar and Alice Ruth Moore, and by examining the hidden underside of the Dunbars' storybook romance where alcohol, sex, and violence prove fatal, Eleanor Alexander produces a provocative, nuanced interpretation of late Victorian courtship and marriage, of post-emancipation racial respectability and class mobility, of pre-modern sexual rituals and color conventions in an emergent elite black society.. OCoThadious M. Davis, Vanderbilt University. Eleanor Alexander's vivid account of the most famous black writer of his day, Paul Laurence Dunbar, and his wife Alice, illuminates the world of the African American literati at the opening of the twentieth century. The Dunbars' fairy-tale romance ended abruptly, when Alice walked out on her alcoholic, abusive spouse. Alexander's access to scores of intimate letters and her sensitive interpretation of the Dunbars mercurial highs and lows reveal the tragic consequences of mixing alcohol, ambition and amour. The Dunbars were precursors for another doomed duo: Scott and Zelda Fitzgerald. Alexander's poignant story of the Dunbars sheds important light on love and violence among DuBois's talented tenth.. OCoCatherine Clinton, author of Fanny Kemble's Civil Wars. Lyrics of Sunshine and Shadow debunks Dunbar myths... Lyrics asks us to consider the ways in which racism and sexism operate together.. OCo The Crisis On February 10, 1906, Alice Ruth Moore, estranged wife of renowned early twentieth-century poet Paul Laurence Dunbar, boarded a streetcar, settled comfortably into her seat, and opened her newspaper to learn of her husband's death the day before. Paul Laurence Dunbar, son of former slaves, whom Frederick Douglass had dubbed the most promising young colored man in America, was dead from tuberculosis at the age of 33. Lyrics of Sunshine and Shadow traces the tempestuous romance of America's most noted African-American literary couple. Drawing on a variety of love letters, diaries, journals, and autobiographies, Eleanor Alexander vividly recounts Dunbar's and Moore's tumultuous affair, from a courtship conducted almost entirely through letters and an elopement brought on by Dunbar's brutal, drunken rape of Moore, through their passionate marriage and its eventual violent dissolution in 1902. Moore, once having left Dunbar, rejected his every entreaty to return to him, responding to his many letters only once, with a blunt, one-word telegram (No). This is a remarkable story of tragic romance among African-American elites struggling to define themselves and their relationships within the context of post-slavery America. As such, it provides a timely examination of the ways in which cultural ideology and politics shape and complicate conceptions of romantic love."

Lady Lillian Walford Had The Look Of Perfection Yet a fateful flaw doomed her to a life of silence. And although Anthony Harbreas, the gallant Earl of Graydon, had showered her with his attention, Lillian knew she was fit to be no man's wife. So why had the much-sought-after earl asked her to be his true-bound bride? Tricked by her brother into marriage with the lovely Lillian, Anthony was quick to realize his incredible luck. For he knew that beneath the surface of her quiet beauty, Lillian was a priceless jewel. And he was determined to convince his innocent wife of her true worth and their golden future.

A small religious community is living in what were once the fens of eastern England. They are perhaps the world's last human survivors. Now, they find themselves stalked by a force that draws ever closer, a force intent on destroying everything they stand for. Set on the far side of the ecological apocalypse, Paul Kingsnorth's new novel is a mythical, polyphonic drama driven by elemental themes: of community versus the self, the mind versus the body, machine versus man - of whether to put your faith in the present or the future. Alexandria completes the Buckmaster Trilogy, which began with Kingsnorth's prize-winning The Wake.

Chicago, 1920: Hadley Richardson is a shy twenty-eight-year-old who has all but given up on love and happiness when she meets Ernest Hemingway and is captivated by his energy, intensity and burning ambition to write. After a whirlwind courtship and wedding, the pair set sail for France. But glamorous Jazz Age Paris, full of artists and writers, fuelled by alcohol and gossip, is no place for family life and fidelity. Ernest and Hadley's marriage begins to founder, and the birth of a beloved son serves only to drive them further apart. Then, at last, Ernest's ferocious literary endeavours begin to bring him recognition - not least from a woman intent on making him her own . . .

What follows is not a translation in the ordinary sense of the word. It's more like a paraphrase. Rather than worry over the letter of the text, the goal has been to illuminate the large scale patterns that structure it. The King James Version, for instance, renders Paul's letter with uncanny beauty but is opaque as an argument. Modern translations tend to have the same problem. Their overriding concern is with the letter of the text, not with its logic. As a result, Paul's forest is always getting sacrificed for the sake of his trees. But Paul's work is too important, his good news too urgent, to leave so much of him locked in the first century. We need our renderings to do more than mimic the original, we need them to bleed and breathe. This work argues that the deep logic of Romans comes into sharp focus around a single premise: Paul's claim that grace is not God's backup plan. Paul never quite puts it like this, but he implies it at every turn.