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This book isn’t concerned with people on their good days-Sexton wants to show us what people are like on a random weekday, when the cumulative weight of a life near the bottom feels like too much to bear. If some of the characters are unlikeable, it’s because they feel like real people, with real flaws and real blind spots. Sexton is critical of his homes, but he’s affectionate as well, even as he writes about emotionally abusive partners or unhappy marriages or cruel friends. The characters in The Hook and The Haymaker’s twenty-three stories are down-on-their-luck men and women in Indiana, where Sexton grew up, and sometimes Georgia, where he now lives and teaches. Some choose to wallow, while others just “lose their way into” remaining in that cycle-the result of a bad kind of math that their choices summed up a long time ago. In an interview earlier this year with Midwestern Gothic (which published the collection’s unsettling final story, “Need”) Sexton said that his characters “are capable of escaping from the orbit of their failures.” Breaking the cycle, he said, requires them to cash in on an opportunity they’ve been given. They all start pretty close to the ground, and while some end their stories a little better off, others a little worse off, you get the feeling that they’ll be in similar situations again. It’s hard to tell which character in Jared Yates Sexton’s new collection The Hook and The Haymaker lies closest to rock-bottom. Subplots follow characters living in a decaying American dream, from a doomed Supreme Court nominee whose daughter goes missing in Austin to a young man raised off the grid by a “sovereign citizen” father. They bust out of a mental health facility with a divine mission to find the Wizard, a man of unspeakable wealth and evil.Īlong the way, they meet ancient archetypes reinterpreted for modern times. The unsettlingly plausible Anthem now finds him exploring an unfamiliar new world through the trappings of a literary fantasy.Īt the heart of the story, an unlikely trio of teens sets out on a quest: Simon, a poor little rich boy reeling from his sister’s death Louise, a sarcastic, compulsive girl from the margins who’s reckoning with trauma and the Prophet, a placid figure who seems to speak in riddles straight from God. Coming up, he’ll helm an untitled heist film for Netflix starring Bridgerton actor Rege-Jean Page, and he’s also bringing sci-fi franchise Alien to TV, again for FX.Īll that’s to say, the world of genre fiction has been good to Hawley. Hawley made his feature film directorial debut in 2019, with the astronaut flick Lucy In the Sky, starring Natalie Portman. For television network FX, he created, wrote, directed and produced the series Fargo and Legion. His onscreen work garnered acclaim and popularity. Since then, he’s written Other People’s Weddings, The Punch, The Good Father and Before the Fall. His first book, A Conspiracy of Tall Men, was published in 1998. Vibrant Matter: A Political Ecology of Things. Princeton, NJ: Princeton University Press, 2001. The Enchantment of Modern Life: Attachments, Crossings, and Ethics. “Happy Endings: The Story of Twin Peaks.” Journal of Literary Studies/Tydskrif vir Literatuurwetenskap 15.1–2 (1999): 94–107.īennett, Jane. “Twin Peaks, Weak Language and the Resurrection of Affect.” The Cinema of David Lynch. “A special TWIN PEAKS announcement.” October 6, 2014. Twin Peaks Behind-the-Scenes: An Unofficial Guide to Twin Peaks. This process is experimental and the keywords may be updated as the learning algorithm improves.Īltman, Mark. These keywords were added by machine and not by the authors. Anderson) informs Cooper that “Some of your friends are here” and then Laura Palmer (Sheryl Lee)-or, perhaps, her doppelganger-having greeted Cooper, tells him “I’ll see you again in 25 years.” Keywords Speaking strangely (the result of backward speech itself then played backward), The Man From Another Place (Michael J. In the final episode of the original run of Mark Frost and David Lynch’s ground-breaking TV drama, Twin Peaks (“Beyond Life and Death,” airdate June 10, 1991), FBI Special Agent Dale Cooper (Kyle McLachlan) ventures intrepidly and bodily into the “waiting room” between worlds, the confusing red-draped space with zigzagged floor that he had visited in his dream in the famous second episode (“Zen, or the Skill to Catch a Killer,” April 19, 1990). She’s even started dating the perfect guy, but their new relationship might be sabotaged before it has a chance by the dangerous thrill Feyi feels every time she locks eyes with the one person in the house who is most definitely off-limits. Feyi isn’t ready for anything serious, but a steamy encounter at a rooftop party cascades into a whirlwind summer she could have never imagined: a luxury trip to a tropical island, decadent meals in the glamorous home of a celebrity chef, and a major curator who wants to launch her art career. It’s been five years since the accident that killed the love of her life and she’s almost a new person now-an artist with her own studio, and sharing a brownstone apartment with her ride-or-die best friend, Joy, who insists it’s time for Feyi to ease back into the dating scene. Feyi Adekola wants to learn how to be alive again. When treachery from within destroys the army's command structure, Tavi finds himself leading an inexperienced, poorly equipped legion-the only force standing between the Canim horde and the war-torn realm.īutcher deftly mixes military fantasy and political intrigue in the rollicking third Codex Alera book (after 2005's Academ's Fury). Meanwhile, young Tavi of Calderon joins a newly formed legion under an assumed name even as the ruthless Kalare unites with the Canim, bestial enemies of the realm whose vast numbers spell certain doom for Alera. The power-hungry High Lord of Kalare has launched a rebellion against the aging First Lord, Gaius Sextus, who with the loyal forces of Alera must fight beside the unlikeliest of allies-the equally contentious High Lord of Aquitaine. Here is a place to discuss the third book in the Codex Alera series Cursor's Fury. Instead of trying to go after attention, we magnetize it. To experience more love in our lives, however, we want to shift this “Go get ‘em” energy to one of receptivity. And, it is wonderful we are able to tap into this side of ourselves. We even can experience a rush with this, the “Yes!” of finishing a hard task, obtaining an excellent client, or earning an honor. This is what helps us to organize, strategize, and achieve. Many women understand that in some areas of our lives, most often our careers, we tend to operate in a masculine state of being. Helps attract mates living in their masculine! In that place of power, we show others that love is what the world is about.” – discussing Women Will Save the Worldīrings out masculine qualities in our male mates By appreciating our feminine qualities, we step more into who we are, and that love overflows from us and affects those around us. “I want women to embrace, love, and honor themselves and to feel inspired to be the best they can be - that is where we start. May you enjoy Caroline's post as much as I do! Love, Janet She is uplifting, inspiring and empowering. She graciously shares her perspective on honoring the feminine within. Dear friends, I first met Caroline from her inspiring book, Women Will Save the World. The most famous burning of vanities happened in Italy, led by the cleric Savonarola. The title refers to a ritual practiced during the Renaissance: the public burning of "vanity" objects such as secular books, mirrors, and extravagant clothing by conservative Catholics. It was made into a 1990 film directed by Brian de Palma. The Bonfire of the Vanities is considered by some commentators to be the "definitive book of 1980s New York," characterized by biting satire and cutting criticism of the rapacious society of the Reagan years. It sold in droves, landing atop the New York Times Bestseller List for two months. The work was originally published in serial form in Rolling Stone before it was released as a hardcover. Previously, Wolfe had written non-fiction journalism and essays on American life such as The Electric Kool-Aid Acid Test and The Right Stuff while fictional, Bonfire of the Vanities retains much of the social commentary evident in his earlier works. The Bonfire of the Vanities, published in 1987, was the eleventh book and first novel by the famous journalist, author, and American Studies scholar Tom Wolfe. " -Chapter 19 in The Red and the Black by Stendhal Their happiness assumed at times the aspect of crime. But they never recaptured the delicious serenity, the unclouded happiness, the spontaneous joy of the first days of their love, when Madame de Renal's one fear was that of not being loved enough by Julien. Their happiness would have seemed great in the eyes of other people. They underwent transports of utter madness. "Their joy was thenceforward of a far higher nature, the flame that devoured them was more intense. Leur bonheur avait quelquefois la physionomie du crime." -Chapter 19 in The Red and the Black by Stendhal Mais ils ne retrouvèrent plus la sérénité délicieuse, la félicité sans nuages, le bonheur facile des premières époques de leurs amours, quand la seule crainte de Mme de Rênal était de n'être pas assez aimée de Julien. Leur bonheur eût paru plus grand aux yeux du monde. Ils avaient des transports pleins de folie. "Leur bonheur était désormais d'une nature bien supérieure, la flamme qui les dévorait fut plus intense. For me, the most thought-provoking contributions are those of Erick D. The volume is an addition to the rapidly multiplying literature on the history and theory of banditry. The Brazilian case studies are probably the most familiar, being a reprint of Linda Lewin’s well-known article on Antônio Silvino and a summary of Billy Jaynes Chandler’s excellent The Bandit King: Lampião of Brazil. Bandidos consists of eight studies of bandit phenomena in seven Latin American countries (Mexico, Venezuela, Argentina, Brazil, Bolivia, Cuba, and Colombia), and papers on Hollywood’s depiction of Latin bandits and how bandits influence criminological theory, framed by an introduction and conclusion by the editor. |