![]() ![]() Part 5: High-Level Solution Design Documents: What Is It and When Do You Need One.Part 4: Solution Design Documents - What You Need to Know.Part 3: Agile Design Techniques for Creating Strong and Scalable Solutions.Part 2: Solution Design - How to Identify the Design Characteristics of Modern IT Systems.Part 1: Solution Design - Introduction and First Principles.Software Effort Estimation: How to Get It Right the First Time. ![]()
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![]() ![]() Only one woman and one man want to help him.Įven though they can't believe their ears. Those who share his blood want to make him one of them. He must choose between the familiar way of the human and the seductive howling of the wolf. Once again they stalk the night, eyes aflame, teeth flashing in vengeance. Roy and Marcia were still alive, and deadly.Īnd thirsty for the most horrifying vengeance imaginable. the nightmare that had joined her husband Roy to the she-wolf Marcia and should have ended forever with the fire. The howling that had heralded the nightmare in Drago. Unexplained disappearances, sudden deaths. On the surface Drago appeared to be like most small rural towns. ![]() Karyn and her husband Roy had come to the peaceful California village of Drago to escape the savagery of the city. “If you haven’t read Gary Brandner, you’re missing a treat.” ![]() ![]() ![]() Using Black queer theory, Black diaspora theory, and Black literary theory, this thesis engages with the novels, essays, and interviews of James Baldwin and Dionne Brand to determine that urban spaces are both liberatory and traumatic for Black queer people.Īuthor Keywords: Baldwin, Black Queer Studies, Black Women, Brand, Diaspora Studies, LesbianĮpp, Michael (Thesis advisor), Eddy, Charmaine (Committee member), Trent University English (Public Texts) (Degree granting institution) Thus, the cities of New York and Toronto become knowable sites through the novels of Dionne Brand and James Baldwin. ![]() ![]() By studying the work of these two authors, this thesis seeks to understand how Black queer people navigate city spaces, and how Black queer authors create a literary imaginary about the cities in which their novels are set. ![]() James Baldwin and Dionne Brand create knowable and readable spaces of the cities in which they write. This thesis explores the work of Black queer authors who write and reproduce cities in their texts. “A City is Not a Place of Origins”: Mapping Black Queer Identity in the Work of Dionne Brand and James Baldwin ![]() ![]() ![]() ![]() She is also the author-illustrator of Balloons Over Broadway, which was awarded a Robert F. Harkness and the Panda by Alicia Potter, among others. Learn more about Brie and her books at or on Twitter at Sweet is the Caldecott Honor artist of A River of Words by Jen Bryant, The Sleepy Little Alphabet by Judy Sierra, and Mrs. She lives in Dutch Flat, California, with her husband.īrie Spangler graduated from the Rhode Island School of Design and is the author-illustrator of two picture books, Peg Leg Peke and The Grumpy Dump Truck. She serves on the advisory board of the Creative Growth Art Center in Oakland, California, and is currently involved in establishing the first program for artists with disabilities in Bali, dedicated to her sister's memory. Joyce Wallace Scott is an educator, RN, development specialist, and published poet. ![]() ![]() Chapters detailing the sinking, the scramble for lifeboats, and the harrowing wait for the Carpathia’s arrival are fast-paced and riveting. Hopkinson packs her thoroughly researched story with a wealth of information about the ship itself (this book is an invaluable resource for students), and her portraits of the shipmates are fully realized and often heartbreaking. The author quotes these four and others freely, their voices forming a deeply intimate account of the tragedy. ![]() She threads together the stories of many passengers and crew members, focusing on a handful of survivors that includes an Argentine-born stewardess, a rambunctious nine-year-old British boy, a science teacher from England, and an American teenager traveling with his parents. ![]() Hopkinson puts a human face on the Titanic’s sinking in this riveting nonfiction chronicle of the ship’s collision with an iceberg and the tragic aftermath. ![]() ![]() ![]() ![]() "And that was without even a single drop of rum." I don't care where we go it what we do as long as I'm with you "Aye, Captain." He lifts the tricorne off my head and runs his fingers through my hair. "Have you decided you want to be a permanent member of the crew, then?" I tease. I could say something naughty but I won't. He is only the first of Theris's - no, Vordan's, I remind myself - crew who will die tonightĪlosa is now a captain of her own ship and has her own female pirates and we might just have some sirens too □īut will they defeat the Pirate King and get the gold? Read and find out. ![]() I catch the pirate before his corpse hits the ground and gently lower him the rest of the way. The sound of my knife slitting across a throat feels much to loud in the darkness. Alosa is back and bad to the bone! I loved the first one and love this one even more ![]() ![]() ![]() His proposal of marriage, however, is rejected. Though his first impressions of Bathsheba Everdene is that she is a vain, possibly immodest, young woman who exceeds him in education if not in social class, he finds himself inescapably drawn to her. With the arrival of a young woman to his environs, Gabriel finds his thoughts affected, his heart provoked. ![]() ![]() Not yet of independent means, his knowledge, fastidiousness and strong work ethic appears to ensure a prosperous future for him. His only companions are his two sheep dogs the reliable but old George and George’s energetic but disobedient unnamed son. The hard life out of doors has made Gabriel look older than his 28 years. Gabriel Oak, a sheep farmer with a modest sized farm, lives a solitary existence consisting of long days of unending toil. This edition uses the original text for the first time showcasing Hardy’s satire of the social and religious values of his period. A fast-paced plot with well-fleshed characters, building to unforgettable scenes of great drama and emotion and leaving much food for thought. Far from the Madding Crowd is perhaps destined to become one of my favourite novels. ![]() ![]() ![]() (Later, the Other tells Piranesi should not speak to "16" or else he'll go mad.) Afterwards, Piranesi starts reading through the earliest entries in his journal, none of which he remembers writing, and looks up some of the names the Prophet had mentioned. He also says that the Other's real name is "Val Ketterley" and that "16" is looking for Piranesi. The Prophet says that this World is created from ideas from a different world. In Part III, Piranesi comes across an old man, who he nicknames the Prophet. One day, the Other tells Piranesi that someone (who they nickname "16") may show up, but that "16" is their enemy. ![]() Piranesi also forgets things and loses track of time, but the Other does not. The Other, however, is able to procure things like blankets, shoes, etc. Piranesi survives by fishing, gathering seaweed and collecting fresh water from waterfalls. ![]() Piranesi helps him with this research, but he doesn't really believe in it. The Other believes that the labyrinth contains a Great and Secret Knowledge. Part II, Piranesi meets with the Other, the only other living person there. The lowest level floods continuously, and Piranesi has located the skeletal remains of 13 dead people in the labyrinth. Part I introduces Piranesi, a man who lives in a grand, 3-tiered labyrinth, filled with statues. ![]() ![]()
![]() ![]() There’s nothing wrong with good commerce, provided it is good commerce. ![]() All we were doing is promising a diversion. But they’re as cynical as a crossword puzzle. Those are delightful scavenger hunts that are about as accurate to history as the James Bond movies are to espionage. See how a cross is formed on a map? Well, it’s sort of a cross. I mean, Dan Brown, God bless him, says, Here is a sculpture in a place in Paris! No, it’s way over there. Yeah, those Robert Langdon sequels are hooey. "Oh, God, that was a commercial enterprise. That in itself plays directly into Hanks’ opinion that the movies were nothing more than “a commercial enterprise” and, above all else, historically inaccurate “hooey.” He said in his interview: The trilogy of movies pulled in over $1.5 billion at the box office between them, despite Rotten Tomatoes ratings for the movies not peaking above 37%. ![]() |