All Charley S Fault

A biographical book, Harriet Beecher Stowe’s ‘Our Charley and What to do With Him’ is based on her own brother Charles Edward Beecher - a wild, tempestuous child, and the youngest son in the family. Told as a series of individual stories about Charley, we learn that despite his mischief-making and the trouble he gives to his parents, Charley is a much loved and important member of the family. A fascinating insight into the early life of the Beecher family. Harriet Beecher Stowe (1811-1896) was an American author of novels, articles and memoirs, and was an ardent abolitionist. Stowe was born in Connecticut to a religious family. Her father was a Calvinist preacher and her mother died when she was just five years old. She received a traditional academic education – a rarity for girls at the time – and at the age of twenty-one she moved to Cincinnati, Ohio. A major trading location, it was here that Stowe encountered people who had escaped slavery, and hearing their experiences would greatly influence her life and work. She married in 1850 and moved to Maine, where both she and her husband remained vocal critics of slavery, and actively supported the Underground Railroad. Her most famous novel ‘Uncle Tom’s Cabin’ was serialised and then published in 1852. It caught the attention of the American nation with its passionate opposition and emotional portrayal of the effects of slavery. She died in Connecticut in 1896 at the age of 85.

With all his heart, young Charlie wants a BMX bicycle. He has finished with safety wheels and has practiced extensively on his friends' BMX bicycles. Unfortunately, his parents' budget doesn't stretch that far, and he ends up with his dreams having quite a setback. But nothing daunted Charlie; with a lot of imagination, he manages to have amazing adventures on his little black bike.

Henry Green: Class, Style, and the Everyday offers a critical prism through which Green's fiction—from his earliest published short stories, as an Eton schoolboy, through to his last dialogic novels of the 1950s—can be seen as a coherent, subtle, and humorous critique of the tension between class, style, and realism in the first half of the twentieth century. The study extends on-going critical recognition that Green's work is central to the development of the novel from the twenties to the fifties, acting as a vital bridge between late modernist, inter-war, post-war, and postmodernist fiction. The overarching contention is that the shifting and destabilizing nature of Green's oeuvre sets up a predicament similar to that confronted by theorists of the everyday. Consequently, each chapter acknowledges the indeterminacy of the writing, whether it be: the non-singular functioning (or malfunctioning) of the name; the open-ended, purposefully ambiguous nature of its symbols; the shifting, cinematic nature of Green's prose style; the sensitive, but resolutely unsentimental depictions of the working-classes and the aristocracy in the inter-war period; the impact of war and its inconsistent irruptions into daily life; or the ways in which moments or events are rapidly subsumed back into the flux of the everyday, their impact left uncertain. Critics have, historically, offered up singular readings of Green's work, or focused on the poetic or recreative qualities of certain works, particularly those of the 1940s. Green's writing is, undoubtedly, poetic and extraordinary, but this book also pays attention to the clichéd, meta-textual, and uneventful aspects of his fiction.

Historical Suspense and Romance in the Wild West Fired from her most recent governess position, Melanie Ross must embrace her last resort: the Arizona mercantile she inherited from her cousin. But Caleb Nelson is positive he inherited the mercantile, and he's not about to let some obstinate woman with newfangled ideas mess up all he's worked for. He's determined to get Melanie married off as soon as possible, and luckily there are plenty of single men in town quite interested in taking her off his hands. The problem is, Caleb soon realizes he doesn't want her to marry up with any of them. He's drawn to Melanie more every day, and he has to admit some of her ideas for the store unexpectedly offer positive results. But someone doesn't want the store to succeed, and what used to be just threatening words has escalated into deliberate destruction and lurkers in the night. When a body shows up on the mercantile steps--and the man obviously didn't die from natural causes--things really get dangerous. Can Melanie and Caleb's business--and romance--survive the trouble that's about to come their way?

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