PI Regan Reilly and her husband Jack, head of the NYPD Major Case Squad, investigate an L.A.-based business scam that extends up and down the coast of California --

French Verbs and Idioms offers an overview of essential grammatical terms (such as conjugation, mood, elision, gender, agreement, etc.) and categorizes the verbs. Extensive lists of useful idioms, proverbs, and sayings containing the verbs, tenses, and moods discussed fill the gaps in the knowledge of the advanced learner. Explanations are in English and all verbs, examples, idioms, proverbs, and sayings are translated into English for comparison purposes and comprehension.

EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.

A New York Times Notable Book, and a “chaotic, laugh riot” (San Francisco Chronicle) of a memoir. Shalom Auslander was raised with a terrified respect for God. Even as he grew up and was estranged from his community, his religion and its traditions, he could not find the path to a life where he didn’t struggle daily with the fear of God’s formidable wrath. Foreskin’s Lament reveals Auslander’s “painfully, cripplingly, incurably, miserably religious” youth in a strict, socially isolated Orthodox Jewish community, and recounts his rebellion and efforts to make a new life apart from it. His combination of unrelenting humor and anger renders a rich and fascinating portrait of a man grappling with his faith and family.

During the last two decades of the nineteenth century the Dutch drama, which had lapsed into astate of somnolence since the glorious days of VondeI, suddenly awoke to vigorous life. Not only did gifted dramatists appear, but talented directors, actors, and actresses brought new splendor to the theatre. Yet this brilliant flame did not burst forth in a vacuum, and to appre ciate the quality of its light, it must be viewed against the back ground of its origins in the European drama. After the middle of the century the emphasis in literary creation had shifted from a subjective, emotional point of view to a more objective and rationalistic attitude. If this seems only a roundabout way of saying that Romanticism yielded its dominance to Realism and Naturalism, the conc1usion is justified, but we should not yield too readily to the pseudo-scientific mania which urges us to force literature into a genus and species type of c1assification. It is customary to say that in the eighties and nineties, Nat uralism won a decisive victory over Romanticism and drove the partisans of the older movement from the field. At first glance this does, indeed, appear to be true. Hugo yields to Zola, Pushkin to Tolstoi, Tieck to Hauptmann. It is all quite simple.