The Love Me Tender Years Diary

Trude Forsher was hired to be Elvis Presley's private secretary in August, 1956. She kept a diary of her experiences over the next five years, documenting the day - to - day experiences inside the Presley organization

The king of rock-and-roll's #1 hit song "Love Me Tender" is now an endearing picture book Adapted from the unforgettable classic song, Elvis Presley's Love MeTender is a heartwarming ode to the special bond between children and the adults who love and care for them--be they parents, grandparents, adoptive parents, aunts, uncles, or guardians. With its simple, timeless message, Elvis Presley's Love Me Tender is destined to join Guess How Much I Love You as a baby shower staple. And the sweet, inclusive illustrations make it a book every family will treasure "all through the years, 'till the end of time."

"You can't go wrong picking up a Susan Fox book." --Romance Reviews Today Pay a visit to Caribou Crossing, the rustic, inviting Western town where broken hearts mend and new love takes root. . . Dave Cousins, owner of the Wild Rose Inn, is known throughout Caribou Crossing as the nicest--and loneliest--guy in town. He's had his heart broken more than once, and he's determined not to let it happen again. So it's no wonder he's wary when a free-spirited drifter leaves him longing for more than just a steamy fling. . . Like the wild goose tattooed on her shoulder, Cassidy Esperanza goes wherever the wind takes her. For her, a new day means a fresh start. And yet something about her days in Caribou Crossing--and nights with its handsome hotel owner--makes her think about staying a while. But when life takes an unexpected turn, her first instinct is to take flight once more. Is Dave strong enough to help them both face their fears, come to terms with the past, and believe that sometimes love truly can last a lifetime? "The perfect sweep-you-away story--smart, sexy, funny and touching. Susan Fox delivers an unforgettable read." --Susan Wiggs on Home on the Range

Thirteen-year-old Elvira worries about her future when, after a fight, her father heads to Las Vegas for an Elvis impersonator competition and her pregnant mother takes her and her younger sister to Memphis to visit a grandmother the girls have never met.

Some of the world's best-loved songs have had remarkable origins. Had Robert Burns not heard an old man sing a quavering version of an ancient Scottish country song, we would never have had 'Auld Lang Syne'. Miss Jane Ross wrote down the tune she heard played by a piper at an Irish village fair in 1855. Had she not done so, the rest of the world...

His fiancé had died tragically at the foot of a tall building, and he was a suspect in the murder of his fiancé! Helpless, her family was defeated and surrounded by enemies. Other than her enemies, no one else could help her! Go back to him, be his wife. He was not stingy in everything she wanted. Including her fiancé who had been dead for two years. He can give it. 

There is more going on in the village of Buckleigh than meets the eye and its sense of community is often as much a curse as a blessing. While Barrie, the local mayor, is driven into the arms of tough single mother Debbie, his father lusts after a former chorus girl whose breath now smells of 'cabbage and chocolates'. Meanwhile, a farmer's wife is driven to murder by her unfaithful husband, a carnival queen faces an uncertain future and the postman is in danger of realising his sexual fantasies. Playing on in the background of each of these wry, interlinked tales is the village silver band, swilling cider and keeping a sharp eye out for any misbehaviour.

Ancient tragedy has played a well-documented role in contemporary theatre since the mid-twentieth century. In addition to the often-commented-upon watershed productions, however, is a significant but overlooked history involving classical tragedy in experimental and avant-garde theatre. Postdramatic Tragedies focuses upon such experimental reinventions and analyses receptions of Greek and Roman tragedy that come under the banner of 'postdramatic theatre', a style of performance in which the traditional components of drama, such as character and narrative, are subordinate to the immediate, affective power of more abstract elements, such as image and sound. The chapters are arranged into three parts, each of which explores classical reception within a specific strand of postdramatic theatre: text-based theatre, devised theatre, and theatre that transcends the usual boundaries of time and space, such as durational and immersive theatre. Each offers a semiotic and phenomenological analysis of a particular case study, covering both widely known and less studied productions from 1995 to 2015. Together they reveal that postdramatic theatre is related to the classics at its conceptual core, and that the study of postdramatic tragedies reveals a great deal about both the evolution of theatre in recent decades, and the status of ancient drama in modernity.