Stolen Song documents the act of cultural appropriation that created a founding moment for French literary history: the rescripting and domestication of troubadour song, a prestige corpus in the European sphere, as French. This book also documents the simultaneous creation of an alternative point of origin for French literary history—a body of faux-archaic Occitanizing songs. Most scholars would find the claim that troubadour poetry is the origin of French literature uncomplicated and uncontroversial. However, Stolen Song shows that the "Frenchness" of this tradition was invented, constructed, and confected by francophone medieval poets and compilers keen to devise their own literary history. Stolen Song makes a major contribution to medieval studies both by exposing this act of cultural appropriation as the origin of the French canon and by elaborating a new approach to questions of political and cultural identity. Eliza Zingesser shows that these questions, usually addressed on the level of narrative and theme, can also be fruitfully approached through formal, linguistic, and manuscript-oriented tools.

Stolen Song documents the act of cultural appropriation that created a founding moment for French literary history: the rescripting and domestication of troubadour song, a prestige corpus in the European sphere, as French. This book also documents the simultaneous creation of an alternative point of origin for French literary history—a body of faux-archaic Occitanizing songs. Most scholars would find the claim that troubadour poetry is the origin of French literature uncomplicated and uncontroversial. However, Stolen Song shows that the "Frenchness" of this tradition was invented, constructed, and confected by francophone medieval poets and compilers keen to devise their own literary history. Stolen Song makes a major contribution to medieval studies both by exposing this act of cultural appropriation as the origin of the French canon and by elaborating a new approach to questions of political and cultural identity. Eliza Zingesser shows that these questions, usually addressed on the level of narrative and theme, can also be fruitfully approached through formal, linguistic, and manuscript-oriented tools.

An exhilarating, wondrous middle grade debut about a brother and sister on a quest that “swoops from thrilling to terrifying to heartwarming and back again” (BookPage) to defeat a tyrannical ruler and protect a magical book. “[W]ill appeal to readers of Kelly Barnhill and Lemony Snicket” (Publishers Weekly). Rachel and Robert live a gray, dreary life under the rule of cruel and calculating Charles Malstain. That is, until one night, when their librarian father enlists their help to steal a forbidden book. Before their father is captured, Rachel and Robert are given one mission: find the missing final page. But to uncover the secrets of The Book of Stolen Dreams, the siblings must face darkness and combat many evils to be rewarded with the astonishing, magical truth about the book. Nevertheless, they resolve to do everything in their power to stop it from falling into Charles Malstain’s hands. For if it does, he could rule their world forever.

My voice doesn't charm forest animals... It predicts death. That's right—I'm a banshee. And I’m locked up in Nightmare Penitentiary with no hope of escape. I don't expect to be rescued by handsome fae princes, either, since the last ones I had a crush on put me here. Now, the princes are here to rattle my cage, and they’re just as handsome and judgmental as I remember. I’d tell them exactly what I think about them, but in addition to stealing my freedom, they’ve taken my voice. **Stolen Song is a paranormal prison reverse harem romance.

A Depression-era comic masterpiece, E. P. O'Donnell's The Great Big Doorstep centers on the Crochets, a Cajun family who live in a ramshackle house between the levee and the Mississippi River. The Crochets dream of one day owning a stately plantation befitting the magnificent cypress doorstep they have salvaged from the river and proudly display outside their humble home. The memorable characters in this novel have their own concerns: the patriarch, Commodo, is full of wild bravado as he fluctuates between scheming, laboring, and malingering; his wife reigns as the queen of retort, though toughened by years of making do and doing without. The Crochet children also cope with personal struggles: Topal, twenty, restless, and moody, and recently dumped by her fiancé; Arthur, eighteen, attempts to strike out on his own while dodging the coddling of his mother and the fury of his father; Evvie, almost fifteen, plans to join a religious order after renouncing a lover; and twins Gussie and Paul, and baby T. J., provide an ongoing chorus of laughter and tears. The Great Big Doorstep has remained a literary and cultural classic since its publication in 1941. In an 1979 afterword, Eudora Welty praises O'Donnell's comic genius, citing his "supreme gift" for dialogue, while Bryan Giemza's introduction underscores the work's place in the tradition of comic Southern novels.