![]() ![]() Whisked away to a seemingly perfect world, Oriana discovers sinister secrets at every turn, including the identity of Tristan, a boy with whom she shares an undeniable but impossible connection. With servitude her only option, Oriana accepts the offer. Years later, during her enemy’s betrothal ritual, Ezra, a boy she has never before seen, selects her as his mate. ![]() Drawing strength from ancient tales of her enemy, young Oriana transforms herself from victim to warrior with the help of a mysterious and powerful dagger given to her by a kind and dying boy. No telling whom the plague will strike next, Oriana means to find freedom for herself and her people. Oriana dreams of escaping her life of ruthless cruelty from the people who now rule over those who remain. Half the population of the island of Madera are dead, killed by an unforgiving and indiscriminate plague. ![]()
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![]() ![]() ![]() Though her father mostly neglected her, Yen Mah was a top student all throughout her childhood. Yen Mah spent much of her childhood in and out of boarding schools, often being moved around due to the Japanese occupation of China and Mao Zedong’s march of Communism across the country, which caused many civilians to flee their homes. As described in Chinese Cinderella, Yen Mah’s stepmother despised her stepchildren and was vicious in her mistreatment of them, creating an abusive and fearful home environment. A year after his first wife’s death, Yen Mah’s father married a very young half-French, half-Chinese woman and had two more children with her. Because of this, Yen Mah was considered to be bad luck by her family members and she was mistreated by most of her siblings for her entire childhood. ![]() Yen Mah’s mother died of a fever two weeks after her birth, due to birthing complications. Adeline Yen Mah was born in Tianjin, China, the fifth child of a wealthy businessman and an accountant. ![]() ![]() ![]() ![]() ![]() Only through the poetry they share are they able to speak the truth that is in their hearts and imagine a future where love is cause for celebration, not regret. Daily interactions become impossibly painful as they struggle to find a balance between the feelings that pull them together and the forces that tear them apart. Not long after a heart-stopping first date during which each recognizes something profound and familiar in the other, they are slammed to the core when a shocking discovery brings their new relationship to a sudden halt. Then she meets her new neighbor Will, a handsome twenty-one-year-old whose mere presence leaves her flustered and whose passion for poetry slams thrills her. She appears resilient and tenacious, but inside, she's losing hope. ![]() See the complete Slammed series book list. Comedian Hasan Minhaj has been cast in the upcoming film adaptation of Colleen Hoovers bestselling novel, 'It Ends With Us.' The movie will also feature Blake Lively and Justin Baldoni in leading. Colleen Hoover’s romantic, emotion-packed debut novel unforgettably captures all the magic and confusion of first love, as two young people forge an unlikely bond before discovering that fate has other plans for them.įollowing the unexpected death of her father, eighteen-year-old Layken becomes the rock for both her mother and younger brother. The Slammed book series by Colleen Hoover includes books Slammed, Point of Retreat, This Girl, and several more. ![]() ![]() These keywords were added by machine and not by the authors. ![]() ![]() ![]() For such critics, Sula offers a critique of the stultifying ideology of the Bottom, which, despite its ostensible reliance on African-American tradition, shadows the ‘dominant’ ideological paradigm of Medallion and its attendant race-, class-, and gender-based hierarchies. Samuels and Clenora Hudson-Weems posit that the character seeks an ‘authentic existence’ (Samuels and Hudson-Weems 1990, 32). Jill Matus, for instance, regards Sula as ‘a woman … intent on opening all parts of herself rather than folding them away’ (Matus 1998, 60) while Wilfred D. Although few commentators will unequivocally endorse Sula’s behavior, many laud her disregard of ‘normative’ social standards as an emblem of a subversive feminist consciousness. Through such acts as watching her mother, Hannah, burn to death, accidentally (?) hurling Chicken Little to a watery grave, fornicating with Nel’s husband (among many others), and assigning her grandmother to a nursing home, Sula distances herself from the sensus communis of her birthplace. ![]() Staunchly ‘individual,’ Sula subverts the communal ideology of the ‘Bottom’ - Medallion, Ohio’s African-American quarter - repeatedly. Critical interpretations of the title character of Toni Morrison’s 1973 volume, Sula, vary sharply in their assessment of her subjectivity. ![]() |