Isherwood's resurrected classic—now a feature film—takes us to Southern California in the 1960s and into one day in the life of George, a gay, middle-aged English professor, struggling to cope with his young lover's tragic death. Simon Prebble's voice is a perfect conduit for Isherwood's lyricism, and he assumes the role of George so naturally and with such raw feeling that listeners will feel as if they are hearing the words straight from the protagonist himself, so beautifully does Prebble create George's reserve behind which surge tides of grief, rage, and bitter loneliness.
Tulipomania - The Story of the World's Most Coveted Flower and the Extraordinary Passions It Aroused
In the 1630s, visitors to the prosperous trading cities of the Netherlands couldn't help but notice that thousands of normally sober, hardworking Dutch citizens from every walk of life were caught up in an extraordinary frenzy of buying and selling. The object of this unprecedented speculation was the tulip, a delicate and exotic Eastern import that had bewitched horticulturists, noblemen, and tavern owners alike. For almost a year rare bulbs changed hands for incredible and ever-increasing sums, until single flowers were being sold for more than the cost of a house. Historians would come to call it tulipomania.
Near the grounds of an abandoned mental hospital, a buried chamber is discovered. Inside are six bodies, one of which may be that of a girl who has been missing for two decades--the best friend of a woman, Annabelle, who has spent her childhood moving from city to city, from identity to identity, hiding from someone or something totally unknown to her. She's been safe for several years now, but a single act of bravery plunges her right back into a life of fear. This is a rich, complex tale that juggles a handful of mysteries at once. Who is the killer, and could it be someone connected with a notorious child murderer?
Medieval Single Women - The Politics of Social Classification in Late Medieval England
The single woman is a troubling and disruptive category. Does it denote all unmarried women, therefore creating a group which every female was part of at some stage in her life? Or, were the categories 'maiden' and 'widow' so culturally significant in late medieval England that 'single woman' was a residual category for women seen as anomalous? Was the category 'single man' used in an equivalent way and, if not, why? This study offers a way into the complex process of social classification in late medieval England.
