By V. C. Andrews
Pushed from the Dumas Mansion again to her liked bayou, Ruby's simply wish is that destiny will permit her start anew...
Living back in a humble shack, Ruby is decided to make a safe and satisfied domestic for her worthwhile youngster daughter, Pearl. Paul Tate -- her past love, whom she was once pressured to desert -- is at her part once again, now a guy of stunning wealth. while he whisks her into his grand condo, it kind of feels their destiny is guaranteed. As mistress of Cypress Woods, Ruby can overlook even the stunning cause she and Paul needs to wed in a mystery rite and stay husband and spouse in identify alone.
But the thick, pricey partitions of Cypress Woods can't close out the bad thoughts that experience woven their textile over her future, or the chilly eyes of Paul's mom, Gladys, reminding Ruby of the key she needs to preserve to provide Pearl a loving father. Then her venomous dual sister, Gisselle, arrives to taunt her with information of Beau Andreas, the genuine father Pearl hasn't ever met, and the one guy Ruby will ever lengthy for with all her physique and soul, wanting to locate the total, enjoyable existence she craves, Ruby builds a precarious new lifestyles, a flimsy shanty of wish that the 1st flood washes away. simply whilst the hurricane exposes the very blackest evils of the earlier will she glimpse the rainbow's fragile promise, a morning of light and laughter with a kin of her own....
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Additional resources for All That Glitters (Landry, Book 3)
The idea that postmodernism dissolves critical distance, an important tenet of Jameson’s theory, can be seen in this light as a way of recognizing the collapse of cultural distinction in the realm of theory. ”45 Cultural studies has been highly eclectic, notoriously finding its objects of analysis in the unlikeliest, or most mundane, of places—fanzines, soap operas, cars, shopping malls. The study of culture is no longer restricted to the sanctioned works of the literary or artistic tradition, but flourishes in its attention to all kinds of activity.
With these technologies have come new uses and organizations of labor, new speeds and patterns of the flow of capital, and new production processes. This acceleration and flexibility has had a significant effect on the expanding class of knowledge-workers (or “cultural mass,” as Harvey, following Daniel Bell, terms them):38 the marketing of symbols—of lifestyle, image, trend, and idea—has greatly expanded, while also following the speed of turnover demanded by the new capitalist economy. The promiscuous image-fixation and hybridity of postmodern culture, in the broadest sense, is directly related to these developments.
Significantly, The Postmodern Condition relegates art and literature to an appendix, added to the English translation and aimed, presumably, at the book’s audience in the humanities, for whom the discussion of scientific legitimation was primarily of interest as an intervention into the debate about modernity. 20 Lyotard’s terse proposition draws the modern/postmodern distinction between two exemplary figures, Proust and Joyce. ” He continues: “In Proust, what is being eluded as the price to pay for this allusion is the identity of consciousness, a victim to the excess of time (au trop de temps).