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James VI & I, the namesake of the King James Version of the Bible, had a series of notorious male favorites. No one denies that these relationships were amorous, but were they sexual? Michael B. Young merges political history with recent scholarship in the history of sexuality to answer that question. More broadly, he shows that James s favorites had a negative impact within the royal family, at court, in Parliament, and in the nation at large. Contemporaries raised the specter of a sodomitical court and an effeminized nation; some urged James to engage in a more virile foreign policy by embarking on war. Queen Anne encouraged a martial spirit and molded her oldest son to be more manly than his father. Repercussions continued after James s death, detracting from the majesty of the monarchy and contributing to the outbreak of the Civil War. Persons acquainted with the history of sexuality will find surprising premonitions here of modern homosexuality and homophobia. General readers will find a world of political intrigue colored by sodomy, pederasty, and gender instability. For readers new to the subject, the book begins with a helpful overview of King James s life."
THE SUNDAY TIMES BESTSELLER As seen on BBC2 Between the Covers 'Beautifully written and full of joy. Bolu Babalola is a star.' Meg Cabot 'Here is love as freedom, love as deep joy. Romance will never be dead, as long as Bolu is writing it.' Jessie Burton Bolu Babalola finds the most beautiful love stories from history and mythology and rewrites them with incredible new detail and vivacity in this debut collection. Focusing on the magical folktales of West Africa, Babalola also reimagines iconic Greek myths, ancient legends from the Middle East, and stories from countries that no longer exist in our world. A high-born Nigerian goddess feels beaten down and unappreciated by her gregarious love...
"Actor Michael B. Jordan is known for connecting with his characters, including playing the villain in the Hollywood blockbuster Black Panther. Learn more about his rise to fame!"--]cProvided by publisher.
"An oral history of HBO"s The Wire"--
After a century of friendship, smoking opium with Genghis Khan and having orgies in Michelangelo's studio, two inseparable vampire buddies are on the verge of splitting up. Terrible timing, as an apocalypse-obsessed villain is plotting an end to humanity. Looks like Nick and Tree, immortal best buds getting by as bail bondsmen, are humanity's last hope... Can they put their baggage aside long enough to save the world? Collects the entire miniseries.
"The right story at the right time. . . . It’s not just a narrative; it’s an experience. It’s the novel we’ve been waiting for." —The New York Times A boy tries to steer a safe path through the projects in Harlem in the wake of his brother’s death in this outstanding debut novel that celebrates community and creativity. Winner of the Coretta Scott King John Steptoe Award for New Talent and soon to be a major motion picture directed by Michael B. Jordan! It’s Christmas Eve in Harlem, but twelve-year-old Lolly Rachpaul and his mom aren’t celebrating. They’re still reeling from his older brother’s death in a gang-related shooting just a few months earlier. Then Lolly’s mot...
NEW YORK TIMES BESTSELLER • The first comprehensive account of the epoch-making Six-Day War, from the author of Ally—now featuring a fiftieth-anniversary retrospective Though it lasted for only six tense days in June, the 1967 Arab-Israeli war never really ended. Every crisis that has ripped through this region in the ensuing decades, from the Yom Kippur War of 1973 to the ongoing intifada, is a direct consequence of those six days of fighting. Writing with a novelist’s command of narrative and a historian’s grasp of fact and motive, Michael B. Oren reconstructs both the lightning-fast action on the battlefields and the political shocks that electrified the world. Extraordinary perso...
In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. Harris Jr.'s Chameleon Street (1989), blackness and noir in Bill Duke's Deep Cover (1992), and how place and desire impact blackness in Barry Jenkins's Medicine for Melancholy (2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality.