A Stroke Of Good Fortune

She is waiting to be loved for the very first time. He is waiting to love her. But someone is dead set on making sure that never happens. Widowed Arabella Northwick went from the home of a father who didn’t love her to the home of a husband who didn’t love her. It would seem at last she was on the cusp of forging a happier future for her baby and herself, were it not for her dead husband’s brother, who is determined to keep them captive. Theo Dawson was born and bred into the textile industry. He has never wished to inherit the mill and run it, but as the eldest son, no other choice presents itself. He might be able to resign himself to a life of duty rather than happiness were it not for the beautiful, widowed Mrs. Northwick, who is coming to mean every bit as much to him as fulfilling his duties. With a wicked brother-in-law keeping a tight rein on Arabella and swearing she will lose her son if she marries, and problems at the mill that prevent Theo from any hope of passing it on to his younger brother, the two hopeless lovers have arrived at point non plus. What they will need to overcome—their only chance, in fact—is a stroke of good fortune.

Examines the life and writings of Flannery O'Connor, including detailed synopses of her works, explanations of literary terms, biographies of friends and family, and social and historical influences.

"In the vast literature of love, The Seducer's Diary is an intricate curiosity--a feverishly intellectual attempt to reconstruct an erotic failure as a pedagogic success, a wound masked as a boast," observes John Updike in his foreword to S ren Kierkegaard's narrative. This work, a chapter from Kierkegaard's first major volume, Either/Or, springs from his relationship with his fianc e, Regine Olsen. Kierkegaard fell in love with the young woman, ten years his junior, proposed to her, but then broke off their engagement a year later. This event affected Kierkegaard profoundly. Olsen became a muse for him, and a flood of volumes resulted. His attempt to set right, in writing, what he feels was a mistake in his relationship with Olsen taught him the secret of "indirect communication." The Seducer's Diary, then, becomes Kierkegaard's attempt to portray himself as a scoundrel and thus make their break easier for her. Matters of marriage, the ethical versus the aesthetic, dread, and, increasingly, the severities of Christianity are pondered by Kierkegaard in this intense work.

This book connects the aging woman to the image of God in the work of Flannery O’Connor, Joyce Carol Oates, Alicia Ostriker, Lucille Clifton, Mary Szybist, and Anne Babson. It introduces a canon of contemporary American women’s spiritual literature with the goal of showing how this literature treats aging and spirituality as major, connected themes. It demonstrates that such literature interacts meaningfully with feminist theology, social science research on aging and body image, attachment theory, and narrative identity theory. The book provides an interdisciplinary context for the relationship between aging and spirituality in order to confirm that US women’s writing provides unique illustrations of the interconnections between aging and spirituality signaled by other fields. This book demonstrates that relationships between the human and divine remain a consistent and valuable feature of contemporary women’s literature and that the divine–human relationship is under constant literary revision.

«On the subject of the feminist business» Re-Reading Flannery O'Connor is a groundbreaking collection of critical essays that responds to mainstream feminist theory in approaching O'Connor's fiction. These innovative readings provide a fresh reappraisal of O'Connor's work, revealing how she defies the patriarchal Southern culture in which she lived with brilliantly subversive depictions of the women who inhabited her world.

"In Revising Flannery O'Connor, Katherine Hemple Prown addresses the conflicts O'Connor experienced as a "southern lady" and professional author. Placing gender at the center of her analytical framework, Prown considers the reasons for feminist critical negelct of the writer and traces the cultural origins of the complicated aesthetic that informs O'Connor's fiction, but published and unpublished.".

The Helix was meant to be a revolution, but even the most pure of intentions can spawn terrible evil, and the revolution of information and innovation they hoped for may not be the one they get.