A wealthy widow of a nobleman, daughter of a famous scientist, and skeptic who only trusts what can be proven. Meet Serafina Trent. A woman about to take 19th Century London by storm. It's London, 1857, and everything is at stake for Serafina Trent. A woman of means . . . but not the typical Victorian lady who feels her place is to be seen and not heard. When her brother's most recent female dalliance, a beautiful actress, is found murdered, all evidence points to him. Especially since the actress had just rejected him in a most public manner. Now everyone believes Clive is headed for the gallows. Everyone, that is, but Serafina. Determined to prove her brother's innocence, Serafina finds herself working with unlikely allies—including Dylan Tremayne, a passionate storyteller and actor with a criminal past. This novel will hold fans of mystery and history spellbound until the very last page. Victorian England comes alive in this intriguing new series from one of Christian fiction's favorite authors.

In Pro Femina, she writes: "From Sappho to myself, consider the fate of women. / How unworthy to discuss it! Like a noose ... / Juvenal set us apart in denouncing / our vices / Which had grown, in part, from / having been set apart: / Women abused their spouses, / cuckolded them, even plotted / To poison them ... "

Noveller der med udgangspunkt i forskellige myter og legender beskriver forskellige kvinders liv

A transcendent tale of a woman's self-discovery—the New York Times–bestselling second work of fiction by the author of The Secret Life of Bees and The Book of Longings Inside the church of a Benedictine monastery on Egret Island, just off the coast of South Carolina, resides a beautiful and mysterious chair ornately carved with mermaids and dedicated to a saint who, legend claims, was a mermaid before her conversion. When Jessie Sullivan is summoned home to the island to cope with her eccentric mother’s seemingly inexplicable behavior, she is living a conventional life with her husband, Hugh, a life “molded to the smallest space possible.” Jessie loves Hugh, but once on the island, she finds herself drawn to Brother Thomas, a monk about to take his final vows. Amid a rich community of unforgettable island women and the exotic beauty of marshlands, tidal creeks, and majestic egrets, Jessie grapples with the tension of desire and the struggle to deny it, with a freedom that feels overwhelmingly right, and with the immutable force of home and marriage. Is the power of the mermaid chair only a myth? Or will it alter the course of Jessie’s life? What happens will unlock the roots of her mother’s tormented past, but most of all, it will allow Jessie to discover selfhood and a place of belonging as she explores the thin line between the spiritual and the erotic.

Help the mermaid princess find her lost treasure. It's a real Mermaid Adventure as she races to get back to her castle in time for her royal birthday ball! Trace the white picture outlines and reveal the gold, silver, and rainbow-swirl undersea world beneath the black-coated pages. This fun and easy Trace-Along art activity book allows budding artists to use the wooden stylus enclosed to trace the easy-to-follow white outlines on the black-coated pages. Youngsters will be delighted to see their images appear with glitter and splendid swirls of color! They can also use the sketch pages in the back to draw their own pictures. Trace-Along Scratch and Sketch Art Activity Book includes: A wooden stylus to scratch the black-coated pages to reveal glittering, gleaming colors beneath. Wire-o bound hardcover binding. 20 scratch-off black-coated pages, 20 illustrated pages, and 20 pages for your own sketches. Recommended for ages 5 and up. 6-3/8 inches wide x 8-1/2 inches high. Non-toxic: Potential eye irritant. Avoid inhaling particles of scratch coating. Not for children under 5 years. Meets all applicable safety standards.

Looking at works by Carrie Mae Weems, Toni Morrison, Emily Dickinson, Flannery O'Connor, Dorothy Allison, Carson McCullers, and Zora Neale Hurston, Claire Raymond uncovers a pattern of femininity constructed around representations of sadistic violence in American women's literature and photography from the late nineteenth and twentieth centuries. Dickinson's poetry is read through its relationship to the Southern Agrarian critics who championed her work. While the representations of violence found in Carrie Mae Weems's installation From Here I Saw What Happened and I Cried, Morrison's Beloved, Dickinson’s poetry, O'Connor's 'A View of the Woods' and 'A Good Man Is Hard to Find,' Allison's Bastard Out of Carolina, McCullers' Ballad of the Sad Café, and Hurston's Mules and Men are diverse in terms of artistic presentation, all allude to or are set in the antebellum and Jim Crow South. In addition, all involve feminine characters whose subjectivity is shaped by the practice of seeing acts of violence inflicted where there can be no effective resistance. While not proposing an equivalence between representing violence in visual images and written text, Raymond does suggest that visual images of violence can be interpreted in context with written evocations of violent imagery. Invoking sadism in its ethical sense of violence enacted on a victim for whom self-defense and recourse of any kind are impossible, Raymond's study is ultimately an exploration of the idea that a femininity constructed by the positioning of feminine characters as witnesses to sadistic acts is a phenomenon distinctly of the American South that is linked to the culture's history of racism.

Forty, freckled and facing infertility, Megan Dunn hears the siren call that reawakens her lifelong obsession, and sets off in pursuit of mermaids. Real mermaids. From Coney Island and Copenhagen to Courtenay Place, Wellington, New Zealand, from the semiotics of 1984 romantic comedy Splash to meet-ups with top professional mermaids, her odyssey takes her fathoms deep, past the wreck and the boardwalk, as she asks the question that has plagued humans for millennia: What is it about mermaids? Diving into the caverns of her own life, Megan loses the plot but finds her voice and hears the mermaids singing. Shimmeringly intellectual and devastatingly deadpan, tragicomic and true, this is an off-the-hook tale about sex and death, mothers and daughters, women’s work and marriage, the stories we tell ourselves and the myths that define us all. ‘Her voice is so strong. It’s wonderful.’ — Lorde ‘A treasure of a memoir . . . funny, frank and moving.’ — Kim Hill ‘Observes the importance of fantasy with keen wit and an open heart’. — Pip Adam, author of Nothing to See ‘A fabulously witty adventure, written in deeply moving prose.’ — Philip Hoare, author of Leviathan or, The Whale