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The Love Factory
What readers are saying about The Love Factory: 'The first time I've wanted to start re-reading a book from the moment I finished it' 'Like Sex and the City on acid' 'Anna [is] a heart-capturing protagonist' 'a warm, inclusive, big-hearted book' You can control want, but desire controls you When literary writer Anna falls on hard times, she tries her hand at erotic fiction to make money, and faces an uncomfortable truth. Though she's a wife and mother of two, her stories fail to fly because she's never experienced true sexual desire. Even her Sicilian grandmother - wearer of diamante sunglasses and knock-off Louis Vuitton - knows more than she does about real passion. Anna turns to her friends for inspiration. As secrets and desires are revealed, she discovers more about the people close to her than she ever knew. When one of them suggests she borrow an alter ego to banish her inhibitions, a new world opens up, and The Love Factory - a group of writers penning ever more successful sexy stories - is born. Yet Anna knows that she can't rely on borrowed passion and an alter ego forever. For her tales to truly sizzle, she needs to find a true love of her own.
The Savage Hour
De Wildt, South Africa. On an oppressively hot day, an elderly doctor is found drowned in the dam on her home farm by her sixteen-year-old granddaughter. She slipped to her death. Bereft, her community remembers a matriarch of fierce spirit, whose talent for healing and instinct for trouble brought solace to the people yet failed her children. But her granddaughter and detective friend come to question the cause of her death - threatening to expose the fractures in the family with one insistent doubt: she did not slip. From this discovery, this loss, ripples of disquiet will spread beyond the family; extending to servants and to farmhands; to the police, hospital and town beyond. All must face the wave that turns them from the course of their lives, or be swept under.
Rhumba
Tottenham, London. Ten-year-old Flambeau waits for his young mother to arrive from the Congo, along the same dangerous route that the human traffickers smuggled him. Homesick and pining for love, he sees a glimpse of life in Knight, a fellow Congolese. Knight, a sapeur - dressed to the nines and dressed to kill - is a gangster who lives for two purposes: to be noticed, and to dance away the immigrants' troubles on a Friday night at Le Pitch, Broadwater Farm. And, who knows, he might just be able to use his contacts to find Flambeau's mother, Bijou. Knight has a girlfriend, Eleanor: a pale Scottish beauty whose love for him is total, but who can never be accepted into the world of Le Pitch. She becomes Flambeau's confidante, and he her mentor in the art of the Rhumba - the dance that will help her steal her lover's heart. But Knight's past is so troubled, and his present so dangerous, that to challenge the traffickers to find Bijou might be more than his life is worth - something a ten-year-old child cannot be expected to understand.
Reel Women
In the last several decades, the number of films featuring female protagonists has increased significantly. Many of these films reflect the vast cultural and sociological changes that have taken place since the early 1960s, highlighting not only a wide spectrum of female characters depicted onscreen, but the creative work of women behind the camera as well. In Reel Women: An International Directory of Contemporary Feature Films about Women, media librarian Jane Sloan has assembled an impressive list of more than 2400 films—from nearly 100 countries—that feature female protagonists. Each entry includes a brief description of the film and cites key artistic personnel, particularly female d...
Tomorrow I'll Be Twenty
Finalist for the Man Booker International Prize 2015 Michel is ten years old, living in Pointe Noire, Congo, in the 1970s. His mother sells peanuts at the market, his father works at the Victory Palace Hotel, and brings home books left behind by the white guests. Planes cross the sky overhead, and Michel and his friend Lounès dream about the countries where they'll land. While news comes over the radio of the American hostage crisis in Tehran, the death of the Shah, the scandal of the Boukassa diamonds, Michel struggles with the demands of his twelve year old girlfriend Caroline, who threatens to leave him for a bully in the football team. But most worrying for Michel, the witch doctor has told his mother that he has hidden the key to her womb, and must return it before she can have another child. Somehow he must find it. Tomorrow I'll Be Twenty is a humorous and poignant account of an African childhood, drawn from Alain Mabanckou's life.
Sunshine & Olivier
Melony McGant is a performance artist/storyteller and writer who focuses her time and energy on helping to positively impact the lives of children and young adults by exploring life challenges through creative art forms. She walks with an open heart and a desire to assist in the creation of a rainbow bridge across the globe. Previous to her artistic endeavors, Melony owned and operated a full service-marketing firm in Pittsburgh, PA. She currently resides in New York City where she is affectionately known as Ms. Mellie.
The Oxford Handbook of Global Modernisms
The Oxford Handbook of Global Modernisms expands the scope of modernism beyond its traditional focus on English and Irish literature to explore the contributions of artists from countries and regions like the US, Cuba, Spain, the Balkans, China, Japan, India, Vietnam, and Nigeria.
A Dictionary of Film Studies
This volume covers all aspects of film studies, including critical terms, concepts, movements, national and international cinemas, film history, genres, organizations, practices, and key technical terms and concepts. It is an ideal reference for students and teachers of film studies and anyone with an interest in film studies and criticism.
Reframing Africa?
This book takes readers on a series of stimulating intellectual journeys from the late nineteenth century to the contemporary era to explore notions of modernity in the production and reception of the African moving image and of African archival practices. Ideas are presented from multiple historical and contemporary perspectives, while inviting new voices to participate in discussions about the future of the African moving image. Reframing Africa? makes a plea for the recognition, preservation and repatriation of the African moving image archive, advancing ideas about how it speaks to contemporary Africans, possessed of the power to elucidate their lived experiences and to reorientate perceptions of the past, present and future. On the basis of this wide-ranging appreciation of the archive, the book charts a way forward for African-inflected film studies as well as other programmes in the humanities and social sciences. Reframing Africa? will appeal to scholars, academics and practitioners across the continent and beyond
