String Fling


Book Description

Bonnie is back! And this time she’s introducing us to a world of string piecing. Strings are strips and scraps usually too small to be useful for other projects, but they are just right for these 13 new quilts. Within these pages you will find a twist on traditional, time-honored designs along with some new ideas straight from Bonnie’s scrappy imagination.




String Frenzy


Book Description

Are you buried in scraps—big pieces, small pieces, hunks, chunks, strips, and parts? Bonnie K. Hunter fans will love her newest book of playful string-quilt projects! Sew a dozen vibrant quilt patterns using the small leftovers from other projects that seem too tiny to save, yet too big to toss. Learn Bonnie’s basics for foundation piecing narrow fabric pieces 3/4” to 2” wide, turning them into dazzling scrappy blocks and one-of-a-kind quilts. Have a string piecing party with a best-selling author, the great Bonnie K. Hunter Love your leftovers! Become a scrap quilt addict, sewing fabric strings and crumbs into brand new blocks Hunter fans will love this offering of twelve “use it all” patterns in her signature style




Music Trades


Book Description




Girl's Bass Method


Book Description

From Tish Ciravolo, president and founder of Daisy Rock Guitars, comes the first bass method written especially for girls! In the tradition of the immensely popular Girl's Guitar Method, the Girl's Bass Method speaks to girls by teaching from a girl's perspective, with a style and design addressing the interests of young women today. This is a solid method that teaches how to read standard music notation and TAB, play in several different keys and styles, perform slides, accents, and syncopated rhythms and more. The included CD features recordings of all the music in the book for listening and playing along. 48 pages.




Dear Sparkle


Book Description

Sage advice straight from the mouth of the world’s most pointed puss! --My human is moving in with her boyfriend, so we’ll have to leave our apartment and my perfect birdwatching perch. I need to know how to get rid of him! --Our ?pet sitter? smells weird. Is there any way to make her less stinky? --My humans like to sleep when it’s obviously the best time to play! Have any ideas for how to wake them up? Face it, felines, your humans can’t help you untangle your problems--especially when they’re usually the ones driving you crazy! Never fear, the world’s foremost feline authority Sparkle the Cat is here to solve all of your kitty conundrums. Sparkle can relate to you and your furry friends and offers insight laced with tough love. With 70 Q&As, ?Sparkle Says? sidebars, and full-color photos throughout, this guide is definitely NOT your usual human-written cat book. Whether you’re a confused kitty who doesn’t understand why you’re supposed to stay off the couch, a cat who’s furious because the new puppy ate your catnip stash, or a freaked-out feral who wants to return to the wild, Sparkle has the wise--and often hilarious--answers for your woes.




PTM.


Book Description




Sound Intentions


Book Description

The rhymes in poems are important to understanding how poets write; and in the nineteenth century, rhyme conditioned the ways in which poets heard both themselves and each other writing. Sound Intentions studies the significance of rhyme in the work of Wordsworth, Keats, Tennyson, Christina Rossetti, Hopkins and other poets, including Coleridge, Byron, Elizabeth Barrett Browning, Swinburne, and Hardy. The book's stylistic reading of nineteenth-century poetry argues for Wordsworth's centrality to issues of intention and chance in poets' work, and offers a reading of the formal choices made in poetry as profoundly revealing points of intertextual relation. Sound Intentions includes detailed consideration of the critical meaning of both rhyme and repetition, bringing to bear an emphasis on form as poetry's crucial proving-ground. In a series of detailed readings of important poems, the book shows how close formal attention goes beyond critical formalism, and can become a way of illuminating poets' deepest preoccupations, doubts, and beliefs. Wordsworth's sounding of his own poetic voice, in blank verse as well as rhyme, is here taken as a model for the ways in which later nineteenth-century poets attend to the most perplexing and important voicings of their own poetic originality.




Romantic Echoes in the Victorian Era


Book Description

In tracing those deliberate and accidental Romantic echoes that reverberate through the Victorian age into the beginning of the twentieth century, this collection acknowledges that the Victorians decided for themselves how to define what is 'Romantic'. The essays explore the extent to which Victorianism can be distinguished from its Romantic precursors, or whether it is possible to conceive of Romanticism without the influence of these Victorian definitions. Romantic Echoes in the Victorian Era reassesses Romantic literature's immediate cultural and literary legacy in the late nineteenth century, showing how the Victorian writings of Matthew Arnold, Wilkie Collins, the Brontës, the Brownings, Elizabeth Gaskell, Charles Dickens, Gerard Manley Hopkins, Thomas Hardy, and the Rossettis were instrumental in shaping Romanticism as a cultural phenomenon. Many of these Victorian writers found in the biographical, literary, and historical models of Chatterton, Coleridge, Byron, Shelley, Keats, and Wordsworth touchstones for reappraising their own creative potential and artistic identity. Whether the Victorians affirmed or revolted against the Romanticism of their early years, their attitudes towards Romantic values enriched and intensified the personal, creative, and social dilemmas described in their art. Taken together, the essays in this collection reflect on current critical dialogues about literary periodisation and contribute to our understanding of how these contemporary debates stem from Romanticism's inception in the Victorian age.




Romanticism, Memory, and Mourning


Book Description

The subject of Romanticism, Memory, and Mourning could not be timelier with Žižek’s recent proclamation that we are ‘living in the end times’ and in an era which is preoccupied with the process and consequences of ageing. We mourn both for our pasts and futures as we now recognise that history is a continuation and record of loss. Mark Sandy explores the treatment of grief, loss, and death across a variety of Romantic poetic forms, including the ballad, sonnet, epic, elegy, fragment, romance, and ode in the works of poets as diverse as Smith, Hemans, Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, and Clare. Romantic meditations on grief, however varied in form and content, are self-consciously aware of the complexity and strength of feelings surrounding the consolation or disconsolation that their structures of poetic memory afford those who survive the imaginary and actual dead. Romantic mourning, Sandy shows, finds expression in disparate poetic forms, and how it manifests itself both as the spirit of its age, rooted in precise historical conditions, and as a proleptic power, of lasting transhistorical significance. Romantic meditations on grief and loss speak to our contemporary anxieties about the inevitable, but unthinkable, event of death itself.




Supplement


Book Description