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The crime fiction world of the late 1970s, with its increasingly diverse landscape, is a natural beginning for this collection of critical studies focusing on the intersections of class, culture and crime--each nuanced with shades of gender, ethnicity, race and politics. The ten new essays herein raise broad and complicated questions about the role of class and culture in transatlantic crime fiction beyond the Golden Age: How is "class" understood in detective fiction, other than as a socioeconomic marker? Can we distinguish between major British and American class concerns as they relate to crime? How politically informed is popular detective fiction in responding to economic crises in Scotland, Ireland, England and the United States? When issues of race and gender intersect with concerns of class and culture, does the crime writer privilege one or another factor? Do values and preoccupations of a primarily middle-class readership get reflected in popular detective fiction?
The beauty I have seen -- Doors of the forest & other poems -- Flow & other poems.
Mitch and Gordon have just started dating and it's going wonderfully ... right up until Mitch meets Chelsea, Gordon's cat. Chelsea hates Mitch on sight, which she lets him know as frequently and violently as possible. So now Mitch has a big problem: he loves Gordon, and Gordon loves him, but Gordon also adores Chelsea and Chelsea wants to put Mitch in the hospital. When every attempt at romance ends up thwarted by a vicious, furry interloper, Mitch starts to wonder if a relationship is even possible. How can Mitch keep Gordon and break up with Gordon’s cat?
Gordon Ramsay is the most exciting and high-profile chef of today. His amazing talent, huge personality and non-nonsense attitude have propelled him to the top of his profession and won him legions of admirers the world over. His television programmes such as Ramsay's Kitchen Nightmares and The F Word attract huge audiences; viewers just can't seem to get enough of this driven, outspoken kitchen wizard. But what lies behind the man in the chef's whites and just how did he manoeuvre himself into such a prominent position in the culinary world? A multi-millionaire by the time he was 30, Ramsay is as ambitious today as he was when he was a teenager. At the age of 18, he was a professional footb...
In this fascinating and erudite book, Bryan Cheyette throws new light on a wide range of modern and contemporary writers—some at the heart of the canon, others more marginal—to explore the power and limitations of the diasporic imagination after the Second World War. Moving from early responses to the death camps and decolonization, through internationally prominent literature after the Second World War, the book culminates in fresh engagements with contemporary Jewish, post-ethnic, and postcolonial writers.div /DIVdivCheyette regards many of the twentieth- and twenty-first-century luminaries he examines—among them Hannah Arendt, Anita Desai, Frantz Fanon, Albert Memmi, Primo Levi, Caryl Phillips, Philip Roth, Salman Rushdie, Edward Said, Zadie Smith, and Muriel Spark—as critical exemplars of the diasporic imagination. Against the discrete disciplinary thinking of the academy, he elaborates and argues for a new comparative approach across Jewish and postcolonial histories and literatures. And in so doing, Cheyette illuminates the ways in which histories and cultures can be imagined across national and communal boundaries./DIV