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In this beautiful collection of poems, remarkable for their plainspoken radiance, the bestselling author of The House on Mango Street and winner of the 2019 PEN/Nabokov Award for Achievement in International Literature embraces her first passion-verse. With lines both comic and sad, Sandra Cisneros deftly-and dazzlingly-explores the human experience. For those familiar with Cisneros only from her acclaimed fiction, My Wicked Wicked Ways presents her in an entirely new light. And for readers everywhere, here is a showcase of one of our most powerful writers at her lyrical best. “Here the young voice of Esperanza of The House on Mango Street merges with that of the grown woman/poet. My Wicked Wicked Ways is a kind of international graffiti, where the poet—bold and insistent—puts her mark on those traveled places on the map and in the heart.” —Cherríe Moraga
Hero to millions who loved him as Robin Hood and Captain Blood, Errol Flynn lived a life that surpassed any adventure that he ever filmed. Many of his exploits were made public for the first time in this autobiography, completed just a few months before his death at age fifty. My Wicked, Wicked Ways, illustrated for the first time with two dozen photos, reveals an introspective and enigmatic personality previously hidden behind a hedonistic facade.
The Wicked Ways of a True Hero by Barbara Metzger Pdf
The lies are undeniable…but the truth is harder to see... Daniel Stamfield has become invaluable to the British Army for his ability to detect the truth from the enemy’s lies. After years of service, Daniel finally takes a respite for some wine, wenches, and wagering. Unfortunately, he didn’t bet on the lovely Miss Corisande Abbott and her unsavory reputation to swagger back into his life. But as time passes, Daniel realizes he wants to make an honest woman of Corey…and an honest man of himself.
It’s Fashion Week at the River Heights Mall, and Bess is in heaven. She works at a boutique called Wicked and is about to make her modelling debut. But someone is taking designer jackets from the shop, and Bess has fallen for one of the top suspects. Will Nancy clear Bess’s new beau’s name before the relationship is ruined forever?
Helene, the Countess Godwin, knows there is nothing more unbearably tedious than a virtuous woman. After all, she's been one for ten long years while her scoundrel of a husband lives with strumpets and causes scandal after scandal. So she decides it's time for a change -- she styles her hair in the newest, daring mode, puts on a shockingly transparent gown, and goes to a ball like Cinderella, hoping to find a prince charming to sweep her off her feet...and into his bed. But instead of a prince, she finds only her own volatile, infuriatingly handsome...husband, Rees, the Earl Godwin. They'd eloped to Gretna Green in a fiery passion, but passion can sometimes burn too hot to last. But now, Rees makes her a brazen offer, and Helene decides to become his wife again...but not in name only. No, this time she decides to be very, very wicked indeed.
Something Rich and Strange by Sue Hosking,Susan Hosking Pdf
Beaches are places of contact, play, confrontation and friction: first comers always arrive on a beach. After Europeans moved into the Antipodes, the coast was the first frontier to be defined. Flinders' circumnavigation in 1802 had mapped 'Australia', revealing the land as 'girt by sea', as the national anthem continues to remind us. All kinds of ideas about the coast, beaches, sea changes, holiday places and islands swirl and eddy in this unique collection of writing.
Latina Self-portraits by Bridget A. Kevane,Juanita Heredia Pdf
Embracing Chicana, Cuban, Dominican, and Puerto Rican writers and writers descended from a combined U.S. and Latin American heritage, Latina literature is one of the fastest growing and most exciting fields in fiction. This literature is characterized by revisionist views of recent history, a concern with exile and borders, a blending of genres, and a complex understanding of the term feminist. In these ten interviews, Kevane and Heredia give writers the opportunity to talk about how they began to write, the craft of writing, the conjunction of life, art and politics, literary influences, and their goals as artists. Readers will meet Julia Alvarez, Denise Chávez, Sandra Cisneros, Rosario Ferré, Cristina García, Nicholasa Mohr, Cherríe Moraga, Judith Ortiz Cofer, Esmeralda Santiago, and Helena María Viramontes. The writers' personal and literary journeys vividly portrayed in these interviews will enrich and enhance the readers' understanding of this exciting field. The volume also includes bibliographies of the writers' work.
Errol Flynn Slept Here by Robert Matzen,Michael Mazzone Pdf
Documenting the most notorious house in Hollywood, this history spans the life and death of Mulholland Farm, the elegant and infamous mountaintop showplace built by film star Errol Flynn at the height of his fame. While appearing to be stylish and refined, Flynn installed secret passageways, two-way mirrors, and other voyeuristic tools into the house to spy on the famous women he entertained, as well as couples making love. He lived in Mulholland Farm during Hollywood’s Golden Era, when he was the most famous playboy movie star alive, remaining in the home through the rape trial that almost ruined him and the snatching of John Barrymore's body. The intricate story of the farm also spans five continents to include Franklin Delano Roosevelt, Ronald Reagan, Fidel Castro, Humphrey Bogart, Shirley Temple, Clark Gable, Billy Graham, Johnny Cash, Roy Rogers, the Rolling Stones, and the other two owners of the property, Christian singer/songwriter Stuart Hamblen and rock ‘n’ roll legend Rick Nelson.
American Classic Screen Features by John C. Tibbetts,James M. Welsh Pdf
In American Classic Screen Features, editors John C. Tibbetts and James M. Welsh have assembled some of the most significant and memorable essays and critical pieces written for the magazine over its ten-year history. This collection contains fascinating accounts of Hollywood history including articles on Marilyn Monroe's first screen test, John Ford's favorite film, Olivia De Havilland's lawsuit against Warner Bros., Walt Disney's unfinished projects, and Stanley Kubrick's early noir classics. This volume also contains in-depth examinations of classic films, including Birth of a Nation, The Big Parade,The Jazz Singer, King Kong, and Citizen Kane. This compendium of essays recaptures the spirit and scholarship of that time and will appeal to both scholars and fans who have an abiding interest in the American motion picture industry.
"This book examines how working-class status intersects with other identities such as gender, sexual orientation, ethnicity, and region in the lives and works of the three authors named. Its introduction discusses widely recognized definitions of the working class and common traits of working-class literature. These include representations of working-class lives, providing a voice for the voiceless, representation of suffering caused by class inequities, and the use of working-class dialect. Working-class women's literature, in particular, reclaims women's bodies from overwork, sexual abuse, or degradation brought on by poverty." "The text then devotes a chapter to each author's life and writing, examining the distinct critical features of each writer's work, as well as the specific ethnic, regional, and personal dynamics that inflect her working-class experiences. Class Definitions includes unpublished interviews with each of the authors." "During the past decade, working-class literature has been recognized in national conferences as well as in anthologies. Yet there are stubborn tendencies to identify the working class with white male laborers and to see ethnic and working-class writing as distinct camps. This book argues for recognition of the varieties of working-class experience through its examination of three diverse authors and their texts. It highlights the specific working-class experience of each author, and thus avoids essentializing working-class women's lives and writings. Maxine Hong Kingston's writing was informed by her years in the anti-Vietnam War movement, as well as by her working-class background. Her recent work has reflected writing workshops with veterans. Sandra Cisneros's work represents women struggling with the Chicano code of machismo and the legend of La Malinche. Dorothy Allison has talked about her need to write against the stereotypes of poor Southerners as well as to be out about her lesbianism. Working-class women's literature is not propaganda or a blueprint, but rather might be compared to a tapestry as rich and multifaceted as the American multicultural landscape itself." "Class Definitions is informed by feminist, working-class, and literary theory, but written in a highly accessible and engaging prose. It will appeal to both scholars and the wide reading public that Kingston, Cisneros, and Allison each enjoy. Ultimately, the book provides a deeper understanding of each author's work and argues for a more nuanced appreciation of working-class women's literature. In lives characterized by material deprivation and social marginality, literature provides a glimmer of hope. For each of these writers, imaginative writing is not only a vivid representation of inequalities, but also an inspiring glimpse into possibilities."--BOOK JACKET.
Ends of Assimilation examines how Chicano literature imagines the conditions and costs of cultural change, arguing that its thematic preoccupation with assimilation illuminates the function of literature. John Alba Cutler shows how mid-century sociologists advanced a model of assimilation that ignored the interlinking of race, gender, and sexuality and characterized American culture as homogeneous, stable, and exceptional. He demonstrates how Chicano literary works from the postwar period to the present understand culture as dynamic and self-consciously promote literature as a medium for influencing the direction of cultural change. With original analyses of works by canonical and noncanonical writers--from Américo Paredes, Sandra Cisneros, and Jimmy Santiago Baca to Estela Portillo Trambley, Alfredo Véa, and Patricia Santana--Ends of Assimilation demands that we reevaluate assimilation, literature, and the very language we use to talk about culture.
The Chronicles of Panchita Villa and Other Guerrilleras by Tey Diana Rebolledo Pdf
Although there have been substantial contributions to Chicana literature and criticism over the past few decades, Chicanas are still underrepresented and underappreciated in the mainstream literary world and virtually nonexistent in the canon. Writers like Sandra Cisneros, Ana Castillo, and Gloria Anzaldúa have managed to find larger audiences and critical respect, but there are legions of Chicana writers and artists who have been marginalized and ignored despite their talent. Even in Chicano anthologies, the focus has tended to be more on male writers. Chicanas have often found themselves without a real home in the academic world. Tey Diana Rebolledo has been writing about Chicana/Latina identity, literature, discrimination, and feminism for more than two decades. In this collection of essays, she brings together both old and new works to give a state-of-the-moment look at the still largely unanswered questions raised by vigilant women of color throughout the last half of the twentieth century. An intimate introductory essay about Rebolledo's personal experiences as the daughter of a Mexican mother and a Peruvian father serves to lay the groundwork for the rest of the volume. The essays delve into the historical development of Chicana writing and its early narratives, the representation of Chicanas as seen on book covers, Chicana feminism, being a Chicana critic in the academy, Chicana art history, and Chicana creativity. Rebolledo encourages "guerrillera" warfare against academia in order to open up the literary canon to Chicana/Latina writers who deserve validation.
Olivia de Havilland and the Golden Age of Hollywood by Ellis Amburn Pdf
This is classic Hollywood history as told through the life and career of one of its most iconic actresses. The book benefits tremendously from the author's meeting with Olivia de Havilland after he was assigned to handle her projected memoir at the Delacorte Press in 1973. Amburn also knew many of the key figures in her life and career, a veritable pantheon of Hollywood royalty from the 30s, 40s, and 50s: Jimmy Stewart, George Cukor, and David O. Selznick, and he was an editor at William Morrow when the company published the autobiography of de Havilland's difficult sister Joan Fontaine. Superbly researched and full of delicious anecdotes about Clark Gable, John Huston, Vivien Leigh, Laurence Olivier, Montgomery Clift, Errol Flynn, David Niven, and Bette Davis--particularly the bloody, bone-crunching fistfight Flynn and Huston waged over Olivia--this book not only profiles one of the finest actresses of her time, but also the culture of the film industry's Golden Age. It details de Havilland's relationships with the men who sought her--Howard Hughes, Jimmy Stewart, Errol Flynn, John F. Kennedy, Burgess Meredith, and John Huston, as well as her friendships with Grace Kelly, British Prime Minister Edward Heath, Ronald Reagan, Victor Fleming, and Ingrid Bergman. Here, too, are the fabulous and often surprising back stories of her 49 films, including Gone With the Wind, The Adventures of Robin Hood, The Snake Pit, Hush . . . Hush, Sweet Charlotte, and the two for which she won Oscars, The Heiress and To Each His Own. The account of the filming of Gone With the Wind is unique in that the author interviewed many of the people involved in the epic making of this masterpiece as Lois Dwight Cole, who discovered the novel, producer David O. Selznick, director George Cukor, agents Kay Brown and Annie Laurie Williams, Radie Harris, Vivien Leigh's closest friend in the press, and both Edie Goetz and Irene Mayer Selznick, daughters of Louis B. Mayer, head of MGM, the studio that funded, released, and ended up owning Gone With the Wind. Also included in this biography are Olivia's adventures with Bette Davis. They appeared together in four movies and Davis tried to destroy her, but Olivia stood up to Davis as no other actress had ever dared to do. She won Davis's respect, and by the time they made their biggest hit, Hush . . . Hush, Sweet Charlotte, a lasting friendship had blossomed. Undertaking a joint national publicity tour, they attracted mobs of boisterous fans and, in private, reminisced about the Golden Age of movies, evaluated the current crop of stars, and exchanged observations about love goddesses, nudity, and parenthood.