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In the most thrilling fantasy of the year, a young girl must pretend to be a boy to rescue her brother from a secret order of monster hunters. Ottilie Colter and her brother, Gully, have always fended for themselves. So when Gully goes missing one night, Ottilie sets out to find him – and soon makes a horrible discovery. Gully has been forcibly recruited by the Narroway Hunt, a secretive male-only organisation that hunts savage, blight-spreading monsters called ‘dredretches’. Disguising herself as a boy, Ottilie infiltrates the Hunt – but quickly realises that taking her brother home won't be easy. Trapped in the heart of the dredretch-infested Narroway, it's impossibly dangerous for...
A SECRET HUNT. A SECRET HERO. Ottilie Colter is the first girl ever to join the secretive, boys-only Narroway Hunt – and she’s determined that she won’t be the last. The Hunt trains children to kill ruthless monsters known as dredretches, but now it's under threat. Dredretches have invaded Fort Fiory, and no-one is safe – especially not the girls who live there, but aren’t allowed to fight. Ottilie must convince the Hunt to train the girls – but with the dredretches getting worse, talk of witchcraft on the rise, and a mysterious hooded figure in the Narroways itself, her time is running out … The second adventure in a thrilling feminist trilogy about friendship, monsters and having the courage to be a rebel.
SLEEPER COMES FOR NONE Ottilie and her friends are members of the Narroway Hunt, a secret organisation that trains children to kill bloodthirsty monsters called dredretches. Now, the huntsmen are under attack – by something far worse than dredretches. A witch is cursing them one by one, making them unwilling participants in a vengeful scheme. But what, exactly, is she planning – and will Ottilie have to join her to find out? The thrilling conclusion to a much-loved trilogy about friendship, changing loyalties and never, ever giving up.
Equally interested in the sensual and the serious, the erotic and the academic, this collection experiments with form, dialect, persona, and voice. Ultimately a hybrid document, Lucy Negro, Redux harnesses blues poetry, deconstructed sonnets, historical documents and lyric essays to tell the challenging, many-faceted story of the Dark Lady, her Shakespeare, and their real and imagined milieu.
Street processions were a defining feature of life in the Victorian town, and this book examines how those events created new civic identities in the growing towns of nineteenth-century south Wales.
This volume marks the twentieth anniversary of the first publication of this groundbreaking book. It reflects the pioneering research of its contributors to the development of modern Welsh women's history. The eight chapters range widely across time (1830-1939) and place, from exploring working class women's community sanctions and the perils facing collier's wife to the very different lifestyles of ironmasters' wives. They also tackle the idealised images of respectable Welsh women in periodicals and the tragic reality of those who took their own lives as well as showing us the transgressive actions of suffrage rebels. They examine how women carved out space within movements such as tempera...
“A sweet and honest rom-com that you don’t want to miss.” —Rachael Lippincott, New York Times bestselling author of Five Feet Apart To All the Boys I’ve Loved Before meets Save the Date in this sweet, hijinks-filled rom-com about a teen girl who will do whatever it takes to find a date for her sister’s wedding. Mia’s friends love rom-coms. Mia hates them. They’re silly, contrived, and not at all realistic. Besides, there are more important things to worry about—like how to handle living with her bridezilla sister, Sam, who’s never appreciated Mia, and surviving junior year juggling every school club offered and acing all of her classes. So when Mia is tasked with finding a date to her sister’s wedding, her options are practically nonexistent. Mia’s friends, however, have an idea. It’s a little crazy, a little out there, and a lot inspired by the movies they love that Mia begrudgingly watches, too. Mia just needs a meet-cute.
The organized study of history began in Britain when the Empire was at its height. Belief in the destiny of imperial England profoundly shaped the imagination of the first generation of professional historians. But with the Empire ended, do these mental habits still haunt historical explanation? Drawing on postcolonial theory in a lively mix of historical and theoretical chapters, The Expansion of England explores the history of the British Empire and the practice of historical enquiry itself. There are essays on Asia, Australasia, the West Indies, South Africa and Britain. Examining the sexual, racial and ethnic identities shaping the experiences of English men and women in the nineteenth century, the authors argue that habits of thought forged in the Empire still give meaning to English identities today.
Kyra and Katya are super girls. At the same time they are Saskia and Saskia, a couple of normal teenage girls. Naturally they can't spend all their time as the SuperTwins, so the Saskias have ordinary jobs to go to, and ordinary lives to lead. Despite that, they are always on hand to use their powers to deal with disasters like tornados, train crashes, and a collapsed school. Occasionally they have to use their powers while being the Saskias, saving the Prime Ministers life and subduing a gunman at the plant where they work being a case in point. Sometimes it's nice to use those powers just for themselves, on a day out, to the Moon! Their ability to travel in time sees them appear on TV, both as the Saskias and the SuperTwins - at the same time. Just because they look like Saskia and Saskia instead of Kyra and Katya doesn’t stop them helping people to achieve what they want in life, Rio gets to do what she wants, with a little help from the girls as they compete against each other in racing cars.
The book subjects male characters in six south Wales novels written between 1936 and 2014 to detailed, gendered reading. It argues that the novels critique the form of masculine hegemony propagated by structural patriarchy serving the material demands of industrial capitalism. Each depicts characters confined to a limited repertoire of culturally endorsed behaviourial norms – such as displays of power, decisiveness and self-control – which prohibit the expression and cultivation of the subjective self. Within the social organisation of industrial capitalism, the working-class characters are, in practice, reduced to dispensable functionaries at work while, in theory, they are accorded the status of patriarchally-sanctioned principals at home. Ideologically subservient and ‘feminised’ in one context, they are ideologically dominant and ‘masculinised’ in another. As they negotiate, resist or strive to reconcile the irreconcilable demands of such gendered practices, recurring patterns of exclusion, inadequacy and mental instability are made evident in their representation.