'The British, once they take the gloves off - once they forget to play cricket, to be English gentlemen - they are the toughest things on earth,' says one German espionage agent to another in Dark Duet. And the trouble with Michael Kane, hero of this spy thriller is that he never plays cricket with Nazi spies ... 'Dark Duet seems to me damn good' Raymond Chandler

You’ve heard their voices before, but never like this: from three-time HWA Bram Stoker Award winner Linda D. Addison and multiple Rhysling Award nominee Stephen M. Wilson comes Dark Duet. Two different voices, in harmony, creating verse that sings and moves on the page, taking the reader through time and space on an infinite symphony of self-exploration. Come dance with them and you may find your own song.

What is the condition of the public reading of scripture in your church? If you are searching for new ways to present meaningful scripture reading in the worship setting, this book will help you. The creating of a speaking choir is one way to elevate oral reading of scripture. This can be a small or large group, depending on the talents and size of your congregation. Once a choir is formed, it needs direction and reading material. This book offers both. The author provides 30 choral readings and directions on making the choir an effective ministry in your congregation. The readings are based on Old and New Testament scripture. Topics range from Christmas and Easter to Mother's Day, praise, missions, and service. You can make the Word of God come to life in the worship and special programs of your church. In this book Robert A. Allen draws from his many years of experience in speech and drama techniques to offer helpful suggestions to enable the church to implement such a program. Dr. Richard L. Paige Jr., executive secretary Minnesota Baptist Association Editor, North Star Baptist Robert A. Allen is chairman of the speech department and director of the Pillsbury Players, Pillsbury College, Owatonna, Minnesota. He has organized speaking choirs in churches, camps, high schools, and colleges.

Using Lady Gaga as a symbol for a new kind of feminism, this “provocative and pleasurable romp through contemporary gender politics . . . is as fun as it is illuminating” (Ariel Levy, New Yorker) Why are so many women single, so many men resisting marriage, and so many gays and lesbians having babies? Gaga Feminism answers these questions while attempting to make sense of the tectonic cultural shifts that have transformed gender and sexual politics in the last few decades. This colorful landscape is populated by symbols and phenomena as varied as pregnant men, late-life lesbians, SpongeBob SquarePants, and queer families. So how do we understand the dissonance between these real experiences and the heteronormative narratives that dominate popular media? We can embrace the chaos! With equal parts edge and wit, J. Jack Halberstam reveals how these symbolic ruptures open a critical space to embrace new ways of conceptualizing sex, love, and marriage. Using Lady Gaga as a symbol for a new era, Halberstam deftly unpacks what the pop superstar symbolizes, to whom and why. The result is a provocative manifesto of creative mayhem—a roadmap to sex and gender for the twenty-first century—that holds Lady Gaga as an exemplar of a new kind of feminism that privileges gender and sexual fluidity. Part handbook, part guidebook, and part sex manual, Gaga Feminism is the first book to take seriously the collapse of heterosexuality and find signposts in the wreckage to a new and different way of doing sex and gender.

This book won the Canadian Crime Writers' Arthur Ellis Award for the Best Genre Criticism/Reference book of 1991. This collection of essays is an attempt to explore the history of spy fiction and spy films and investigate the significance of the ideas they contain. The volume offers new insights into the development and symbolism of British spy fiction.

This is a critical history of spy fiction, film and television in the United States, with a particular focus on the American fictional spies that rivaled (and were often influenced by) Ian Fleming's James Bond. James Fenimore Cooper's Harvey Birch, based on a real-life counterpart, appeared in his novel The Spy in 1821. While Harvey Birch's British rivals dominated spy fiction from the late 1800s until the mid-1930s, American spy fiction came of age shortly thereafter. The spy boom in novels and films during the 1960s, spearheaded by Bond, heavily influenced the espionage genre in the United States for years to come, including series like The Man from U.N.C.L.E. and Matt Helm. The author demonstrates that, while American authors currently dominate the international spy fiction market, James Bond has cast a very long shadow, for a very long time.

The Silent Game traces the history of spy writers and their fiction from creator William Le Queux, of the Edwardian age, to John le Carré, of the Cold War era. David Stafford reveals the connections between fact and fiction as seen in the lives of writers with experience in intelligence, including John Buchan, Compton Mackenzie, Somerset Maugham, Ian Fleming, and Graham Greene. Le Queux used his spy fiction as xenophobic propaganda before and after World War I, and le Carré's novels have provided reflections on the Cold War and the decline of Britain's influence. Anxieties about the decline of the American “empire” have helped stimulate a more vigorous American literature of espionage, providing an index of contemporary American concerns about power relations. As Stafford suggests, the genre of espionage fiction rarely intends to document the real world of intelligence. Rather, it provides a popular vehicle for exploring themes of imperial decline, international crisis, and impending war.