Mr. Collins is rightly angered when Elizabeth Bennett refuses his honorable offer of marriage.Sadly that is the last emotion he experiences.Which gives the gossips of Meryton a delightful piece of news to gossip over - Miss Elizabeth Bennett has pushed her cousin, her father's heir, down the stairs to his death!Elizabeth Bennett, Murderess? Oh, shocking, shameful scandal. Someone must speak for her before she is ruined forever.Fortunately, a new arrival in the neighborhood - a Mr. Darcy - read law at Cambridge and is willing to be of use to Miss Elizabeth.

New folk music and folk-song materials in this comprehensive study are particularly important for singers, folk music enthusiasts, ethnomusicologists, comparative and cultural studies scholars, and those interested in Canadian culture. LaRena Clark was a great singer and knew many fine songs. Her wide repertoire covers almost the complete range of types and topics of traditional Anglo-Canadian songs. Comparison with other collections in Canada, the United States, the British Isles, and Australia indicate just how unique and far-reaching it was. Clark's background and her varied ancestry shaped her repertoire. The account of her parents' activities gives a vivid picture of folk life in rural Ontario during the early years of this century. She knew some Canadian songs previously unreported, and she wrote songs with a strong Canadian flavour. Musically, Clark's songs are a microcosm of practices characteristic of British folk music throughout the English-speaking world. Particularly noteworthy is her constant reworking of traditional materials, procedures, forms, and individual tunes.

This is a collection of poems and journal entries written over the span of seven years that tell most of the story of some of Michael’s most formative years. After trying to grieve the loss of his best friend, deal with the addictions his mother suffers, as well as navigating many young love romances, Michael, turns to his old journals and starts collecting the poetry he’s written. For the sake of clarity, the Him parts are written to be about one great love but he is made of a combination of many. Despite promising himself to be the one to break his family’s generational legacy of trauma and addiction, while alone at a low point, he disappoints himself and proves himself wrong. Michael must now build himself back up from the ground before the dirt can fill his grave with him in it. He must remind himself that everything happens for a reason and that there is no such thing as the wrong person, place, or time because all of those things made him who he is.

*Best New Science Fiction for Summer by The Washington Post *A Most-Anticipated book of 2017 by The Millions Everyone else knows the truth about you, now you can know it, too. That’s the slogan. The product: a junky contraption that tattoos personalized revelations on its users’ forearms. It’s an old con, playing on the fear that we are obvious to everybody except ourselves. This particular ad has been circulating New York since the 1960s and it works. But, oddly enough, so might the device... A small stream of city dwellers buy into this cult of the epiphany machine, including Venter Lowood’s parents. This stigma follows them when they move upstate, where Venter can’t avoid the whispers of teachers and neighbors any more than he can ignore the machine’s accurate predictions: his mother’s abandonment and his father’s disinterest. So when Venter’s grandmother finally asks him to confront the epiphany machine and inoculate himself against his family’s mistakes, he’s only too happy to oblige. Like his parents before him, Venter is quick to fall under the spell of the device’s sweat-stained, profane, and surprisingly charming operator, Adam Lyons. But unlike them, Venter gets close enough to Adam to learn a dark secret. There’s an undeniable pattern between specific epiphanies and violent crimes. And Adam won’t jeopardize the privacy of his customers by alerting the police. It may be a hoax, but that doesn’t mean what Adam is selling isn’t also spot-on. And in this sprawling, snarling tragicomedy about accountability in contemporary America, the greater danger is that Adam Lyon’s apparatus may just be right about us all. This is "can't-miss pop culture."(Vox)