The triumphant seventh novel in the bestselling phenomenon that is the Outlander series. The year is 1777. The place, North Carolina. And as the American rebellion grows in intensity, Highlander Jamie Fraser and his wife Claire need to decide which side their family is going to be on. The choice should be an easy one, given that Claire was born in the twentieth century and has already seen the future - in history books. But things are never simple where the Frasers are concerned, as father and son unwittingly come face to face on the battlefield, and an old adversary reaches forward in time to threaten the next generation. Up to now, Claire and Jamie's love has survived every danger history has put in their path, but in the chaos of war, with families bitterly divided against each other, is the future finally going to catch up with them?

THE TRIUMPHANT SEVENTH NOVEL IN THE MULTI-MILLION BESTSELLING OUTLANDER SERIES. The year is 1777. The place, North Carolina. And as the American rebellion grows in intensity, Highlander Jamie Fraser and his wife Claire need to decide which side their family is going to be on. The choice should be an easy one, given that Claire was born in the twentieth century and has already seen the future - in history books. But things are never simple where the Frasers are concerned, as father and son unwittingly come face to face on the battlefield, and an old adversary reaches forward in time to threaten the next generation. Up to now, Claire and Jamie's love has survived every danger history has put in their path, but in the chaos of war, with families bitterly divided against each other, is the future finally going to catch up with them?

NEW YORK TIMES BESTSELLER • The seventh book in Diana Gabaldon’s acclaimed Outlander saga, the basis for the Starz original series. Don’t miss the new Outlander novel, Go Tell the Bees That I Am Gone, available November 23! “All you’ve come to expect from Gabaldon . . . adventure, history, romance, fantasy.”—The Arizona Republic Jamie Fraser, former Jacobite and reluctant rebel, is already certain of three things about the American rebellion: The Americans will win, fighting on the side of victory is no guarantee of survival, and he’d rather die than have to face his illegitimate son—a young lieutenant in the British army—across the barrel of a gun. Claire Randall knows that the Americans will win, too, but not what the ultimate price may be. That price won’t include Jamie’s life or his happiness, though—not if she has anything to say about it. Meanwhile, in the relative safety of the twentieth century, Jamie and Claire’s daughter, Brianna, and her husband, Roger MacKenzie, have resettled in a historic Scottish home where, across a chasm of two centuries, the unfolding drama of Brianna’s parents’ story comes to life through Claire’s letters. The fragile pages reveal Claire’s love for battle-scarred Jamie Fraser and their flight from North Carolina to the high seas, where they encounter privateers and ocean battles—as Brianna and Roger search for clues not only to Claire’s fate but to their own. Because the future of the MacKenzie family in the Highlands is mysteriously, irrevocably, and intimately entwined with life and death in war-torn colonial America.

In recent years works such as Jean Rhys's Wide Sargasso Sea, J.M. Coetzee's Foe and Peter Carey's Jack Maggs, which 'write back' to classic English texts, have attracted considerable attention as offering a paradigm for the relationship between post-colonial writing and the 'canon'. Thieme's study provides a broad overview of such writing, focusing both on responses to texts that have frequently been associated with the colonial project or the construction of 'race' (The Tempest, Robinson Crusoe, Heart of Darkness and Othello) and texts where the interaction between culture and imperialism is slightly less overt (Great Expectations, Jane Eyre and Wuthering Heights). The post-colonial con-texts examined are located within their particular social and cultural backgrounds with emphasis on the different forms their responses to their pre-texts take and the extent to which they create their own discursive space. Using Edward Said's models of filiative relationships and affiliative identifications, the book argues that 'writing back' is seldom adversarial, rather that it operates along a continuum between complicity and oppositionality that dismantles hierarchical positioning. It also suggests that post-colonial appropriations of canonical pre-texts frequently generate re-readings of their 'originals'. It concludes by considering the implications of this argument for discussions of identity politics and literary genealogies more generally. Authors examined include Chinua Achebe, Margaret Atwood, Kamau Brathwaite, Peter Carey, J.M. Coetzee, Robertson Davies, Wilson Harris, Elizabeth Jolley, Robert Kroetsch, George Lamming, Margaret Laurence, Pauline Melville, V.S. Naipaul, Caryl Phillips, Ngugi wa Thiong'o, Jean Rhys, Salman Rushdie, Djanet Sears, Sam Selvon, Olive Senior, Jane Urquhart and Derek Walcott.

This collection of forty-five duologues is selected from a range of plays, from Elizabethan to contemporary. Jean Marlow and Eamonn Jones, both experienced teachers and working actors, have chosen duologues which vary in style, offer a range of emotions and include parts for a variety of accents and ages. Much helpful advice is given in the book by contributors such as Tom Stoppard, April De Angelis, Don Taylor and representatives from the London Academy of Music and Dramatic Art (LAMDA), Guildhall School of Music and Drama - both use duologues in their external exams - and The Actors' Centre.

"West Indian Literature, as a body of work, is a fairly recent phenomenon; and literary criticism has not always acknowledged the diversity of approaches to writing effectively. In Making West Indian Literature poet and critic Mervyn Morris explores examples of West Indian creativity shaping a range of responses to experience, which often includes colonial traces. Appreciating various kinds of making and a number of West Indian makers, these engaging essays and interviews display a recurrent interest in the processes of composition. Some of the prices highlight writer-performers who have not often been examined. This very readable book, often personal in tone, makes a distinctive contribution to the knowledge and understanding of West Indian Literature. "

This text provides detailed readings of individual poems by women poets whose work has not yet received the sustained critical attention it deserves.

This book discusses the theatrical history of Talawa, the work of Dr Yvonne Brewster OBE, her contribution to the genre of contemporary black British theatre generally, and her founding and subsequent directing of Talawa from 1986 to 2001. The analysis details how Brewster's theatre helped forge a black British identity in Britain, both on and off the British stage, through its strategic presentation of black language and culture in performance. Following explanations of definitions and sociolinguistic methodology in Chapter One: Voicing an Identity, Talawa's theatrical roots are shown in Chapter Two: Post Traumatic Slavery Disorder, to have begun in Africa, developed in Jamaica and further progressed by British Caribbean post war artists in Britain. In Chapter Three: A Stanger in Non-Paradise, Brewster's early life, her significant contribution to contemporary black British theatre, her founding of Talawa and the company's three year residency in the West End are discussed. Talawa's work is then explored by genre as follows; Chapter Four: The Island Plays highlights Talawa's Caribbean productions. These are; An Echo In The Bone, Maskarade, The Black Jacobins, The Dragon Can't Dance, The Lion and Beef No Chicken. In Chapter Five: The Black South, Talawa's American productions; The Love Space Demands, From The Mississippi Delta and Flyin' West point to the relevance of African American work to Talawa's audience. Chapter Six: Stay in Your Box illustrates Brewster's ground breaking work in the British classical genre. The productions discussed are; Anthony and Cleopatra, King Lear, Tis Pity She's a Whore, The Importance of Being Earnest and Othello. The book ends with Chapter Seven: Don't Tell Massa. Brewster and her work at Talawa are summed up, followed by an insight into her final attempt to secure a permanent home for black theatre in Britain.

Outlander is much more than a television romance about a World War II nurse and a Jacobite soldier in a fetching kilt. The series—and the massive serial novel on which it is based—has been categorized as a period drama, adventure saga, military history and fantasy epic. Inspired by the Irish legends of Fionn Mac Cumhaill and the prophecies of Brahan Seer, the storyline is filled with mythology and symbolism from around the world, from the Fair Folk and the Loch Ness monster to wendigos, ghosts, zombies and succubae. Literary references abound, from the Bible to the classics, to Shakespeare and the English romantic poets. The series is also rich with its own symbolism: heather and white roses, the dragonfly in amber, Claire’s blue vase and wedding gown, her wedding rings and pearl necklace. This book untangles the myriad of myths, legends, symbols and literary references found in the series.

The collapse of empires has resulted in a greater appreciation for indigenous cultures in former colonies and a renaissance of creativity. More than 150 alphabetically arranged entries by expert contributors overview and assess the effects of globalization on literary and cultural studies in the 21st century. Attempting to counter what some have seen as the anglophone bias of postcolonial studies, the volume emphasizes the common heritage of resistance in francophone, hispanophone, and other literatures, including the literatures of nonEuropean postimperial states.