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Jonathan Swift's Word-Book: A Vocabulary Compiled for Esther Johnson and Copied in Her Own Hand
by A. C. Elias Jr. John Irwin FischerThis Word-Book is presumably the only work of Jonathan Swift’s not in print, until now. Since the 1690s, Swift had been formulating a list of words and definitions for his protégé Esther Johnson, beginning with terms from the Book of Common Prayer. His was apparently an ongoing list, kept rather haphazardly, with open spaces for adding new words. About 1710, when Swift was in London, Johnson, in Dublin, set out to formalize the dictionary, copying out Swift’s words and definitions to make an orderly and careful book with no blank spaces. Probably in 1713, when Swift returned to Ireland, Johnson presented her Word-Book to him, but his school-masterly corrections of her work may have offended her. After Johnson’s death in 1728, Swift gave the Word-Book to their mutual friend, Elizabeth Sican. It was passed down over generations, until in 1976, the young American Swiftian A. C. Elias, Jr., bought it, intending to edit it in his old age. Before his early death in 2008, Elias asked John Fischer to assume the challenge of bringing the book into print. Fischer took on the task until 2015, when he too passed away, after which his wife Panthea Reid completed the task. This volume includes illustrations from the original book, a transcript of it with schematic indications of Swift’s corrections, as well as essays and appendices by Fischer and Elias tracing provenance, exploring the social and psychological milieu in which the book was written, and tracking Swift’s work as a lexicographer. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
The Theatre of Death: Rituals of Justice from the English Civil Wars to the Restoration (G - Reference, Information And Interdisciplinary Subjects Ser.)
by P J KlempThis book discusses some rituals of justice—such as public executions, printed responses to the Archbishop of Canterbury’s execution speech, and King Charles I’s treason trial—in early modern England. Focusing on the ways in which genres shape these events’ multiple voices, I analyze the rituals’ genres and the diverse perspectives from which we must understand them. The execution ritual, like such cultural forms as plays and films, is a collaborative production that can be understood only, and only incompletely, by being alert to the presence of its many participants and their contributions. Each of these participants brings a voice to the execution ritual, whether it is the judge and jury or the victim, executioner, sheriff and other authorities, spiritual counselors, printer, or spectators and readers. And each has at least one role to play. No matter how powerful some institutions and individuals may appear, none has a monopoly over authority and how the events take shape on and beyond the scaffold. The centerpiece of the mid-seventeenth-century’s theatre of death was the condemned man’s last dying utterance. This study focuses on the words and contexts of many of those final speeches, including King Charles I’s (1649), Archbishop William Laud’s (1645), and the Earl of Strafford’s (1641), as well as those of less well known royalists and regicides. Where we situate ourselves to view, hear, and comprehend a public execution—through specific participants’ eyes, ears, and minds or accounts—shapes our interpretation of the ritual. It is impossible to achieve a singular, carefully indoctrinated meaning of an event as complex as a state-sponsored public execution. Along with the variety of voices and meanings, the nature and purpose of the rituals of justice maintain a significant amount of consistency in a number of eras and cultural contexts. Whether the focus is on the trial and execution of the Marian martyrs, English royalists in the 1640s and 1650s, or the Restoration’s regicides, the events draw on a set of cultural expectations or conventions. Because rituals of justice are shaped by diverse voices and agendas, with the participants’ scripts and counterscripts converging and colliding, they are dramatic moments conveying profound meanings. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Jonathan Swift: Our Dean
by Eugene HammondJonathan Swift: Our Dean details the political climax of his remarkable career—his writing and publication of The Drapier’s Letters (1724), Gulliver’s Travels (1726), and A Modest Proposal (1729)—stressing the relentless political opposition he faced and the numerous ways, including through his sermons, that he worked from his political base as Dean of St. Patrick’s Cathedral, psychologically as well as physically just outside the Dublin city walls, to attempt to rouse the Irish people to awareness of the ways that England was abusing them. This book faces squarely the likelihood that Swift had a physical affair with Esther Vanhomrigh between 1719 and 1723, and reassesses in the light of that likelihood his conflicting relations with Esther Vanhomrigh and Esther Johnson. It traces the many loving friendships with both men and women in Ireland that sustained Swift during the years when his health gradually failed him, enabling him to continue indefatiguably, both through his writings and his authority as Dean of St. Patrick’s, to contribute to the public welfare in the face of relentless British attempts to squeeze greater and greater profits out of their Irish colony. Finally, it traces how Swift’s political indignation led to his treating many people, friends and enemies, cruelly during the 1730s, even while his humor and his ability to make and attract new friends sustained themselves until his memory finally failed him in 1742. This biography, in two books, Jonathan Swift: Irish Blow-in and Jonathan Swift:Our Dean, comes closer than past biographies to capturing how it felt to Swift himself to live his life. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays
by Laura EstillThroughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts (selections from plays and masques) into their commonplace books, verse miscellanies, diaries, and songbooks. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays is the first to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays. As this under-examined archival evidence shows, play readers and playgoers viewed plays as malleable and modular texts to be altered, appropriated, and, most importantly, used. These records provide information that is not available in other forms about the popularity and importance of early modern plays, the reasons plays appealed to their audiences, and the ideas in plays that most interested audiences. Tracing the course of dramatic extracting from the earliest stages in the 1590s, through the prolific manuscript circulation at the universities, to the closure and reopening of the theatres, Estill gathers these microhistories to create a comprehensive overview of seventeenth-century dramatic extracts and the culture of extracting from plays. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays explores new archival evidence (from John Milton’s signature to unpublished university plays) while also analyzing the popularity of perennial favorites such as Shakespeare’s The Tempest. The study of dramatic extracts is the study of particulars: particular readers, particular manuscripts, particular plays or masques, particular historic moments. As D. F. McKenzie puts it, “different readers [bring] the text to life in different ways.” By providing careful analyses of these rich source texts, this book shows how active play-viewing and play-reading (that is, extracting) ultimately led to changing the plays themselves, both through selecting and manipulating the extracts and positioning the plays in new contexts. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Visualizing the Text: From Manuscript Culture to the Age of Caricature
by Lauren Beck Christina IonescuThis volume presents in-depth and contextualized analyses of a wealth of visual materials. These documents provide viewers with a mesmerizing and informative glimpse into how the early modern world was interpreted by image-makers and presented to viewers during a period that spans from manuscript culture to the age of caricature. The premise of this collection responds to a fundamental question: how are early modern texts, objects, and systems of knowledge imaged and consumed through bimodal, hybrid, or intermedial products that rely on both words and pictures to convey meaning? The twelve contributors to this collection go beyond traditional lines of inquiry into word-and-image interaction to deconstruct visual dynamics and politics—to show how images were shaped, manipulated, displayed, and distributed to represent the material world, to propagate official and commercial messages, to support religious practice and ideology, or to embody relations of power. These chapters are anchored in various theoretical and disciplinary points of departure, such as the history of collections and collecting, literary theory and criticism, the histories of science, art history and visual culture, word-and-image studies, as well as print culture and book illustration. Authors draw upon a wide range of visual material hitherto insufficiently explored and placed in context, in some cases hidden in museums and archives, or previously assessed only from a disciplinary standpoint that favored either the image or the text but not both in relation to each other. They include manuscript illuminations representing compilers and collections, frontispieces and other accompanying plates published in catalogues and museographies, astronomical diagrams, mixed pictographic-alphabetic accounting documents, Spanish baroque paintings, illustrative frontispieces or series inspired by or designed for single novels or anthologies, anatomical drawings featured in encyclopedic publications, visual patterns of volcanic formations, engravings representing the New World that accompany non-fictional travelogues, commonplace books that interlace text and images, and graphic satire. Geographically, the collection covers imperial centers (Great Britain, France, the Netherlands, and Spain), as well as their colonial periphery (New France; Mexico; Central America; South America, in particular Brazil; parts of Africa; and the island of Ceylon). Emblematic and thought-provoking, these images are only fragments of the multifaceted and comprehensive visual mosaic created during the early modern period, but their consideration has far reaching implications.
Character and the Individual Personality in English Renaissance Drama: Tragedy, History, Tragicomedy (G - Reference, Information And Interdisciplinary Subjects Ser.)
by John E. CurranCharacter and the Individual Personality in English Renaissance Drama: Tragedy, History, Tragicomedy studies instantiations of the individualistic character in drama, Shakespearean and non-Shakespearean, and some of the Renaissance ideas allowing for and informing them. Setting aside such fraught questions as the history of Renaissance subjectivity and individualism on the one hand and Shakespearean exceptionalism on the other, we can find that in some plays, by a range of different authors and collaborators, a conception has been evidenced of who a particular person is, and has been used to drive the action. This evidence can take into account a number of internal and external factors that might differentiate a person, and can do so drawing on the intellectual context in a number of ways. Ideas with potential to emphasize the special over the general in envisioning the person might come from training in dialectic (thesis vs hypothesis) or in rhetoric (ethopoeia), from psychological frameworks (casuistry, humor theory, and their interpenetration), or from historiography (exemplarity). But though they depicted what we would call personality only intermittently, and with assumptions different from our own about personhood, dramatists sometimes made a priority of representing the workings of a specific mind: the patterns of thought and feeling that set a person off as that person and define that person singularly rather than categorically. Some individualistic characters can be shown to emerge where we do not expect, such as with Fletcherian personae like Amintor, Arbaces, and Montaigne of The Honest Man’s Fortune; some are drawn by playwrights often uninterested in character, such as Chapman’s Bussy D’Ambois, Jonson’s Cicero, and Ford’s Perkin Warbeck; and some appear in being constructed differently from others by the same author, as when Webster’s Bosola is set in contrast to Flamineo, and Marlowe’s Faustus is set against Barabas. But Shakespearean characters are also examined for the particular manner in which each troubles the categorical and exhibits a personality: Othello, Good Duke Humphrey, and Marc Antony. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Crusoes and Other Castaways in Modern French Literature: Solitary Adventures
by Joseph AcquistoCrusoes and Other Castaways in Modern French Literature: Solitary Adventures by Joseph Acquisto examines the many ways in which the castaway, particularly in the form of engagement with Robinson Crusoe, has been reinterpreted and appropriated in nineteenth through twenty-first century French literature. The book is not merely a literary history of the robinsonnade in France; rather, Acquisto demonstrates how what he calls the genre of “solitary adventure” becomes a vehicle for exploration of much larger questions about the reception of texts, modes of reading, and the relationship between popular and serious literary traditions. The heart of Crusoes and Other Castaways in Modern French Literature examines a crucial moment in the late nineteenth and early twentieth centuries when the history of cultural perspectives on reading and solitude intersect, catalyzing a reconsideration of Defoe’s tale. Acquisto’s philosophically inflected readings of works by writers from Rousseau to Balzac, Verne to Gide, Valéry to Tournier enhance intertextual and cultural approaches to the castaway myth and broaden our appreciation of the dynamic relation it has to modern French literature writ large. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Authorship in the Long Eighteenth Century
by Dustin GriffinThis book deals with changing conditions and conceptions of authorship in the long eighteenth century, a period often said to have witnessed the birth of the modern author. It focuses not on authorial self-presentation or self-revelation but on an author’s interactions with booksellers, collaborators, rivals, correspondents, patrons, and audiences. Challenging older accounts of the development of authorship in the period as well as newer claims about the “public sphere” and the “professional writer,” it engages with recent work on print culture and the history of the book. Methodologically eclectic, it moves from close readings to strategic contextualization. The book is organized both chronologically and topically. Early chapters deal with writers – notably Milton and Dryden – at the beginning of the long eighteenth century, and later chapters focus more on writers — among them Johnson, Gray, and Gibbon — toward its end. Looking beyond the traditional canon, it considers a number of little-known or little-studied writers, including Richard Bentley, Thomas Birch, William Oldys, James Ralph, and Thomas Ruddiman. Some of the essays are organized around a single writer, but most deal with a broad topic – literary collaboration, literary careers, the republic of letters, the alleged rise of the “professional writer,” and the rather different figure of the “author by profession.” Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Shakespeare's Folktale Sources
by Charlotte ArteseShakespeare’s Folktale Sources argues that seven plays—The Taming of the Shrew, Titus Andronicus, The Merry Wives of Windsor, The Merchant of Venice, All’s Well that Ends Well, Measure for Measure, and Cymbeline—derive one or more of their plots directly from folktales. In most cases, scholars have accepted one literary version of the folktale as a source. Recognizing that the same story has circulated orally and occurs in other medieval and early modern written versions allows for new readings of the plays. By acknowledging that a play’s source story circulated in multiple forms, we can see how the playwright was engaging his audience on common ground, retelling a story that may have been familiar to many of them, even the illiterate. We can also view the folktale play as a Shakespearean genre, defined by source as the chronicle histories are, that spans and traces the course of Shakespeare’s career. The fact that Shakespeare reworked folktales so frequently also changes the way we see the history of the literary folk- or fairy-tale, which is usually thought to bypass England and move from Italian novella collections to eighteenth-century French salons. Each chapter concludes with a bibliography listing versions of each folktale source as a resource for further research and teaching. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Transformations of Memory and Forgetting in Sixteenth-Century France: Marguerite de Navarre, Pierre de Ronsard, Michel de Montaigne
by Nicolas RussellThis book proposes that in a number of French Renaissance texts, produced in varying contexts and genres, we observe a shift in thinking about memory and forgetting. Focusing on a corpus of texts by Marguerite de Navarre, Pierre de Ronsard, and Michel de Montaigne, it explores several parallel transformations of and challenges to traditional discourses on the human faculty of memory. Throughout Classical Antiquity and the Middle Ages, a number of influential authors described memory as a powerful tool used to engage important human concerns such as spirituality, knowledge, politics, and ethics. This tradition had great esteem for memory and made great efforts to cultivate it in their pedagogical programs. In the early sixteenth century, this attitude toward memory started to be widely questioned. The invention of the printing press and the early stages of the scientific revolution changed the intellectual landscape in ways that would make memory less important in intellectual endeavors. Sixteenth-century writers began to question the reliability and stability of memory. They became wary of this mental faculty, which they portrayed as stubbornly independent, mysterious, unruly, and uncontrollable–an attitude that became the norm in modern Western thought as is illustrated by the works of Descartes, Locke, Freud, Proust, Foucault, and Nora, for example. Writing in this new intellectual landscape, Marguerite de Navarre, Ronsard, and Montaigne describe memory not as a powerful tool of the intellect but rather as an uncontrollable mental faculty that mirrored the uncertainty of human life. Their characterization of memory emerges from an engagement with a number of traditional ideas about memory. Notwithstanding the great many differences in concerns of these writers and in the nature of their texts, they react against or transform their classical and medieval models in similar ways. They focus on memory’s unruly side, the ways that memory functions independently of the will. They associate memory with the fluctuations of the body (the organic soul) rather than the stability of the mind (the intellectual soul). In their descriptions of memory, these authors both reflect and contribute to a modern understanding of and attitude towards this mental faculty. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Women, Epic, and Transition in British Romanticism
by Elisa Beshero-BondarWomen, Epic, and Transition in British Romanticism argues that early nineteenth-century women poets contributed some of the most daring work in modernizing the epic genre. The book examines several long poems to provide perspective on women poets working with and against men in related efforts, contributing together to a Romantic movement of large-scale genre revision. Women poets challenged longstanding categorical approaches to gender and nation in the epic tradition, and they raised politically charged questions about women’s importance in moments of historical crisis. While Romantic epics did not all engage in radical questioning or undermining of authority, this study calls attention to some of the more provocative poems in their approach to gender, culture, and history. This study prioritizes long poems written by and about women during the Romantic era, and does so in context with influential epics by male contemporaries. The book takes its cue from a dramatic increase in the publication of epics in the early nineteenth-century. At their most innovative, Romantic epics provoked questions about the construction of ideological meaning and historical memory, and they centralized women’s experiences in entirely new ways to reflect on defeat, loss, and inevitable transition. For the first time the epic became an attractive genre for ambitious women poets. The book offers a timely response to recent groundbreaking scholarship on nineteenth-century epic by Herbert Tucker and Simon Dentith, and should be of interest to Romanticists and scholars of 18th- and 19th-century literature and history, gender and genre, and women’s studies. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Portraiture and Friendship in Enlightenment France (Studies in Seventeenth- and Eighteenth-Century Art and Culture)
by Jessica L. FrippPortraiture and Friendship in Enlightenment France examines how new and often contradictory ideas about friendship were enacted in the lives of artists in the eighteenth century. It demonstrates that portraits resulted from and generated new ideas about friendship by analyzing the creation, exchange, and display of portraits alongside discussions of friendship in philosophical and academic discourse, exhibition criticism, personal diaries, and correspondence. This study provides a deeper understanding of how artists took advantage of changing conceptions of social relationships and used portraiture to make visible new ideas about friendship that were driven by Enlightenment thought.Studies in Seventeenth- and Eighteenth-Century Art and CultureDistributed for the University of Delaware Press
Picturing Religious Experience: George Herbert, Calvin, and the Scriptures
by Daniel DoerksenLittle has been said about the relationship of Herbert’s writings to those of John Calvin, yet the latter were abundant and influential in Herbert’s Church of England. Accordingly Picturing Religious Experience studies Herbert’s poetry in relation to those writings, particularly regarding “spiritual conflicts,” which the poet himself said would be found depicted in his book of poems. Much more than is generally realized, Calvin wrote about the experience of living the Christian life—which is also Herbert’s subject in many of his poems. Altogether, this study maintains that Herbert owes to his religious orientation not just themes or details, but an impulse to observe and depict the inner life, and scriptural patterns which significantly contribute to the substance and literary excellence of The Temple. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
The Politics of Rape: Sexual Atrocity, Propaganda Wars, and the Restoration Stage
by Jennifer L. AireyThe Politics of Rape: Sexual Atrocity, Propaganda Wars, and the Restoration Stage is the first full-length study to examine representations of sexual violence on the Restoration stage. By reading theatrical depictions of sexual violence alongside political tracts, propaganda pamphlets, and circulating broadsides, this study argues that authors used dramatic representations of rape to respond to and engage with late-century upheavals in British political culture. Beginning with an examination of rape scenes in English Civil War propaganda, The Politics of Rape argues that Roundhead authors described acts of rape and atrocity to demonize their enemies, the Irish, the Catholics, and the Cavaliers. After the Restoration, propagandists and playwrights on each side of every political conflict would follow suit, altering the rhetoric of sexual violence in response to each new moment of political upheaval: The Restoration of Charles II, the Second and Third Anglo-Dutch Wars, the Popish Plot, the Exclusion Crisis, the Glorious Revolution, and the accession of William and Mary. The study offers an intensive look at British propaganda culture, gathering together a wealth of understudied pamphlet texts, and identifying a series of stock figures that recur throughout the century: The demonic Irishman, sexually violent villain of the 1641 Irish Rebellion tracts; the debauched Cavalier, the secretly Catholic royalist rapist; the poisonous Catholic bride, the malignant consort who encourages the rapes of Protestant women; the cannibal father, the evil patriarch who rapes his daughters-in-laws before ingesting his own sons as a symbol of monarchical overreach; and the ravished monarch, the male rape victim whose sexual violation protests his political disenfranchisement. The study also traces the appearance of these figures on the British stage, examining well-known works by Dryden, Rochester, Behn, Lee, and Shadwell, alongside lesser-known plays by Orrery, Howard, Settle, Crowne, Ravenscroft, Pix, Cibber, and Brady. The Politics of Rape thus offers a new method for understanding of the geo-political implications of theatrical sexual violence. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Ignited (Sense Thieves #3)
by Corrine JacksonNobody hides forever.Ever since Remy O'Malley discovered her dual identity as a Healer and a Protector, she's kept alive by staying one step ahead of both sides in this centuries-old war. Now someone's trying to draw her out of hiding, using her kidnapped father as bait. To save him, Remy will need every friend she's got. But as new alliances form, old bonds fray. Her boyfriend Asher is losing his powers, becoming more mortal every time she touches him. Meanwhile, Remy finds herself growing closer to Asher's brother Gabe, even as a family tragedy drives her sister Lucy farther away. On a rescue mission to London, Remy decides she's tired of being the hunted. It's time to end this war once and for all, as Protectors and Healers alike hurtle towards a final, violent confrontation that not everyone will survive.
Culturally And Linguistically: Classroom Practices For Student Success (Culturally And Linguistically Responsive Teaching And Learning)
by Sharroky HollieCulturally and Linguistically Responsive Teaching and Learning is a strategy audio guide designed to help teachers learn key strategies to approach their teaching through a culturally and linguistically responsive lens; embracing and placing value on students' culture and language, allowing them to thrive in the classroom. Narrated by Dr. Sharroky Hollie, this educational resource helps teachers stay up-to-date with current research, best practices, and evidence-based teaching strategies. It provides novice and experienced educators with a pedagogical framework for implementing culturally and linguistically responsive strategies in today's diverse classrooms; addresses culture and language in five key areas: classroom management, academic literacy, academic vocabulary, academic language, and learning environment. PDF resources of the appendices from the print version are included. An ideal resource for teachers either through the school year or during the summer, but also useful for homeschooling parents looking to meet the demands of today’s educational curriculum.
Experience History: Interpreting America's Past
by James West Davidson Brian DeLay Christine Leigh Heyrman Mark H. Lytle Michael B. StoffNIMAC-sourced textbook
World History
by Elisabeth Gaynor Ellis Anthony EslerNIMAC-sourced textbook <p><p> Pearson World History, Florida Edition invites students to experience the impact of history through engaging stories from some of the most compelling and eventful times in the history of our world. MyStory videos, developed in partnership with NBC Learn, open each chapter and invite Florida students to engage in the personal story of an individual whose life is related to the content. This program is 100% Florida standards-aligned and available in print, digital, and blended options.
Brave New World
by Aldous HuxleyAldous Huxley's tour de force, Brave New World is a darkly satiric vision of a "utopian" future--where humans are genetically bred and pharmaceutically anesthetized to passively serve a ruling order. <P><P>A powerful work of speculative fiction that has enthralled and terrified readers for generations, it remains remarkably relevant to this day as both a warning to be heeded as we head into tomorrow and as thought-provoking, satisfying entertainment.
To Kill a Mockingbird
by Harper LeeHarper Lee's Pulitzer prize-winning masterwork of honor and injustice in the deep south--and the heroism of one man in the face of blind and violent hatred, available now for the first time as an e-book. <P><P>One of the best-loved stories of all time, To Kill a Mockingbird has been translated into more than forty languages, sold more than thirty million copies worldwide, served as the basis for an enormously popular motion picture, and was voted one of the best novels of the twentieth century by librarians across the country. <P>A gripping, heart-wrenching, and wholly remarkable tale of coming-of-age in a South poisoned by virulent prejudice, it views a world of great beauty and savage inequities through the eyes of a young girl, as her father-a crusading local lawyer-risks everything to defend a black man unjustly accused of a terrible crime.
White Hot Kiss: Bitter Sweet Love White Hot Kiss Stone Cold Touch Every Last Breath (The Dark Elements #1)
by Jennifer L. ArmentroutOne kiss could be the lastSeventeen-year-old Layla just wants to be normal-fit in at school, and go out on a real date with the gorgeous Zayne, whom she's crushed on since forever. Trouble is, Zayne treats Layla like a sister-and Layla is anything but normal. She's half demon, half gargoyle, with abilities no one else possesses. And even though Zayne is a Warden, part of the race of gargoyles tasked with hunting demons and keeping humanity safe, Layla's kiss will kill anything with a soul-including him.Then she meets Roth-a tattooed, sinfully hot demon who claims to know her secrets. Though Layla knows she should stay away, it's tough when that whole no-kissing thing isn't an issue. Trusting Roth could ruin her chances with Zayne-and brand her a traitor to the Warden family that raised her. But as Layla discovers she's the sole reason for a violent demon uprising, kissing the enemy suddenly pales in comparison to the looming end of the world
Stone Cold Touch: Bitter Sweet Love White Hot Kiss Stone Cold Touch Every Last Breath (The Dark Elements #2)
by Jennifer L. ArmentroutEvery touch has its price Layla Shaw is trying to pick up the pieces of her shattered life-no easy task for a seventeen-year-old who's pretty sure things can't get worse. Her impossibly gorgeous best friend, Zayne, is forever off-limits thanks to the mysterious powers of her soul-stealing kiss. The Warden clan that has always protected her is suddenly keeping dangerous secrets. And she can barely think about Roth, the wickedly hot demon prince who understood her in ways no one else could. But sometimes rock bottom is only the beginning. Because suddenly Layla's powers begin to evolve, and she's offered a tantalizing taste of what has always been forbidden. Then, when she least expects it, Roth returns, bringing news that could change her world forever. She's finally getting what she always wanted, but with hell literally breaking loose and the body count adding up, the price may be higher than Layla is willing to pay....
Asking for Trouble (London Confidential #1)
by Sandra ByrdWhen a fifteen-year-old American girl finds herself living outside of London because of her father’s job transfer and becomes a columnist for the school newspaper, she learns to use Bible truths to dole out wise advice to her classmates but soon finds it hard to follow her own advice.
Let's Review Regents: Algebra I Revised Edition (Barron's Regents NY)
by Gary M. RubinsteinBarron's Let's Review Regents: Algebra I 2020 gives students the step-by-step review and practice they need to prepare for the Regents exam. This updated edition is an ideal companion to high school textbooks and covers all Algebra I topics prescribed by the New York State Board of Regents. All Regents test dates for 2020 have been canceled. Currently the State Education Department of New York has released tentative test dates for the 2021 Regents. The dates are set for January 26-29, 2021, June 15-25, 2021, and August 12-13th. Features include:In-depth Regents exam preparation, including two recent Algebra I Regents exams and answer keysEasy to read topic summariesStep-by-step demonstrations and examplesReview of all Algebra I topicsHundreds of sample questions with fully explained answers for practice and review, and moreTeachers can also use this book to plan lessons and as a helpful resource for practice, homework, and test questions.Looking for additional review? Check out Barron&’s Regents Algebra I Power Pack 2020 two-volume set, which includes Regents Exams and Answers: Algebra I 2020 in addition to Let&’s Review Regents: Algebra I 2020.
Regents Exams and Answers Algebra I Revised Edition (Barron's Regents NY)
by Gary M. RubinsteinBarron&’s Regents Exams and Answers: Algebra I 2020 provides essential review for students taking the Algebra I Regents, including actual exams administered for the course, thorough answer explanations, and comprehensive review of all topics. All Regents test dates for 2020 have been canceled. Currently the State Education Department of New York has released tentative test dates for the 2021 Regents. The dates are set for January 26-29, 2021, June 15-25, 2021, and August 12-13th. This edition features:Six actual, administered Regents exams so students can get familiar with the testComprehensive review questions grouped by topic, to help refresh skills learned in classThorough explanations for all answersScore analysis charts to help identify strengths and weaknessesStudy tips and test-taking strategiesAll pertinent math topics are covered, including sets, algebraic language, linear equations and formulas, ratios, rates, and proportions, polynomials and factoring, radicals and right triangles, area and volume, and quadratic and exponential functions.Looking for additional practice and review? Check out Barron&’s Regents Algebra I Power Pack 2020two-volume set, which includes Let&’s Review Regents: Algebra I 2020 in addition to Regents Exams and Answers: Algebra I 2020.