Jenny S Fame

Framed in beauty. Fueled by ambition. Flushed with pride after designing a wedding gown for British royalty, Jenny returns from London, determined to fulfill her dream of becoming a famous fashion designer. Why not? She designs dresses and lingerie for New York and Philadelphia manufacturers and owns a successful boutique, housed in a charming little Victorian house. She designs gowns and hotel uniforms for wealthy clients on both the East and West coasts. As soon as she divorces Jonathan, an abusive husband, she marries Tony, the man she loves. She didnt marry Tony, in the first place, because she realized that Tonys twin brother Gus also loves her. It was impossible to marry one and hurt the other. Gus solves her dilemma by marrying Martha. But Martha hates Jenny, jealous of her beauty and because she knows Gus loves Jenny. In an attempt to kill Jenny in a public garage one day, Martha loses her own life. Tony manages the boutique, also the workers in both the shop and in the workroom where skilled dressmakers make the original gowns that Jenny designs under her own label. So when Jenny inherits the lingerie factory from her friend Colya, Tony has more work than he can handle. They invite Gus to give up his restaurant in New York, move to Philadelphia and manage the factory. He leaps at the chance. Separation for the twins was always difficult. When one is seriously injured, the other instantly experiences the same pain. Jennys household is run by two competent women who care for her small son Jon and baby Lisa. Jonathan knows nothing about his daughter until their chance meeting at Disney World where a terrible scene ensues. At Christmas time, he brings gifts to his children. Jenny nearly cries when she sees how sick he looks. Later, when she and Tony return from a honeymoon in Paris, they find that Jonathan, now mentally ill, has kidnaped Lisa. A frantic search follows, ending in tragedy. Gus does well managing the factory, which he is told he may buy one day at a bargain basement price. Meanwhile, he becomes entangled with a rich girl who stalks and tricks him into marriage, claiming that her baby belongs to him. Love binds Jenny and her family together. Her family includes Jonathans siblings and their family members, all of whom come to live close to Jenny. Tony jokingly calls her a little spider who draws everyone into her web. Because she has little time for her children and heaps responsibility on Tony until he has a heart attack, Jenny realizes that fame is a fraud, not worth the sacrifice of those she loves.

After the loss of her father and the suicide of her friend Sara, beautiful Jennifer Crawford is determined to become a famous fashion designer. Penniless, she accepts a job in New York where she falls in love with Tony but refuses his proposal when she realizes his twin brother loves her, too. Jenny returns home to Philadelphia. A year later, wealthy Dr. Jonathan Holbrook tricks her into marrying him. His mother provides the wedding and Jennys big break. The Holbrooks become the loving family Jenny always wanted. She divorces Jonathan when he becomes abusive, thus opening the way to marry Tony.

This book focuses on the ways in which second-wave feminism has been represented in American popular culture, and on the effects that these representations have had on feminism as a political movement. Kim Loudermilk provides close readings of four best-selling novels and their film adaptations. According to Loudermilk, each of these novels contains explicitly feminist characters and themes, yet each presents a curiously ambivalent picture of feminism; these texts at once take feminism seriously and subtly undercut its most central tenets. This book argues that these texts create a kind of "fictional feminism" that recuperates feminism's radical potential, thereby lessening the threat it presents to the status quo.

Play Me Something Quick and Devilish explores the heritage of traditional fiddle music in Missouri. Howard Wight Marshall considers the place of homemade music in people’s lives across social and ethnic communities from the late 1700s to the World War I years and into the early 1920s. This exceptionally important and complex period provided the foundations in history and settlement for the evolution of today’s old-time fiddling. Beginning with the French villages on the Mississippi River, Marshall leads us chronologically through the settlement of the state and how these communities established our cultural heritage. Other core populations include the “Old Stock Americans” (primarily Scotch-Irish from Kentucky, Tennessee, North Carolina, and Virginia), African Americans, German-speaking immigrants, people with American Indian ancestry (focusing on Cherokee families dating from the Trail of Tears in the 1830s), and Irish railroad workers in the post–Civil War period. These are the primary communities whose fiddle and dance traditions came together on the Missouri frontier to cultivate the bounty of old-time fiddling enjoyed today. Marshall also investigates themes in the continuing evolution of fiddle traditions. These themes include the use of the violin in Westward migration, in the Civil War years, and in the railroad boom that changed history. Of course, musical tastes shift over time, and the rise of music literacy in the late Victorian period, as evidenced by the brass band movement and immigrant music teachers in small towns, affected fiddling. The contributions of music publishing as well as the surprising importance of ragtime and early jazz also had profound effects. Much of the old-time fiddlers’ repertory arises not from the inherited reels, jigs, and hornpipes from the British Isles, nor from the waltzes, schottisches, and polkas from the Continent, but from the prolific pens of Tin Pan Alley. Marshall also examines regional styles in Missouri fiddling and comments on the future of this time-honored, and changing, tradition. Documentary in nature, this social history draws on various academic disciplines and oral histories recorded in Marshall’s forty-some years of research and field experience. Historians, music aficionados, and lay people interested in Missouri folk heritage—as well as fiddlers, of course—will find Play Me Something Quick and Devilish an entertaining and enlightening read. With 39 tunes, the enclosed Voyager Records companion CD includes a historic sampler of Missouri fiddlers and styles from 1955 to 2012. A media kit is available here: press.umsystem.edu/pages/PlayMeSomethingQuickandDevilish.aspx

When Liz finds her dream house she discovers she has an inexplicable affinity with it. But when her daughter, Jenny, develops an intense relationship with the enigmatic Harriet, Liz finds her credulity tested to the limit. Harriet, a solitary spinster, believes she has a vital role to play in the life of this talented child; their destinies being linked by more than mere chance. However, poor Harriet died thirty years ago so how can she fulfil her destiny? Does she only exist in the child's vivid imagination?