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Author: Trina Robbins
Publisher: Fantagraphics Books
ISBN: 160699669X
Category : Literary Criticism
Languages : en
Pages : 181
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Book Description
Trina Robbins has spent the last thirty years recording the accomplishments of a century of women cartoonists, and Pretty in Ink is her ultimate book, a revised, updated and rewritten history of women cartoonists, with more color illustrations than ever before, and with some startling new discoveries (such as a Native American woman cartoonist from the 1940s who was also a Corporal in the women’s army, and the revelation that a cartoonist included in all of Robbins’s previous histories was a man!) In the pages of Pretty in Ink you’ll find new photos and correspondence from cartoonists Ethel Hays and Edwina Dumm, and the true story of Golden Age comic book star Lily Renee, as intriguing as the comics she drew. Although the comics profession was dominated by men, there were far more women working in the profession throughout the 20th century than other histories indicate, and they have flourished in the 21st. Robbins not only documents the increasing relevance of women throughout the 20th century, with mainstream creators such as Ramona Fradon and Dale Messick and alternative cartoonists such as Lynda Barry, Carol Tyler, and Phoebe Gloeckner, but the latest generation of women cartoonists―Megan Kelso, Cathy Malkasian, Linda Medley, and Lilli Carré, among many others. Robbins is the preeminent historian of women comic artists; forget her previous histories: Pretty in Ink is her most comprehensive volume to date.
Author: Trina Robbins
Publisher: Fantagraphics Books
ISBN: 160699669X
Category : Literary Criticism
Languages : en
Pages : 181
Get Book Here
Book Description
Trina Robbins has spent the last thirty years recording the accomplishments of a century of women cartoonists, and Pretty in Ink is her ultimate book, a revised, updated and rewritten history of women cartoonists, with more color illustrations than ever before, and with some startling new discoveries (such as a Native American woman cartoonist from the 1940s who was also a Corporal in the women’s army, and the revelation that a cartoonist included in all of Robbins’s previous histories was a man!) In the pages of Pretty in Ink you’ll find new photos and correspondence from cartoonists Ethel Hays and Edwina Dumm, and the true story of Golden Age comic book star Lily Renee, as intriguing as the comics she drew. Although the comics profession was dominated by men, there were far more women working in the profession throughout the 20th century than other histories indicate, and they have flourished in the 21st. Robbins not only documents the increasing relevance of women throughout the 20th century, with mainstream creators such as Ramona Fradon and Dale Messick and alternative cartoonists such as Lynda Barry, Carol Tyler, and Phoebe Gloeckner, but the latest generation of women cartoonists―Megan Kelso, Cathy Malkasian, Linda Medley, and Lilli Carré, among many others. Robbins is the preeminent historian of women comic artists; forget her previous histories: Pretty in Ink is her most comprehensive volume to date.
Author: Christopher Hart
Publisher: Watson-Guptill
ISBN: 0770434908
Category : Art
Languages : en
Pages : 146
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Book Description
This books shows aspiring artists exactly how to handle anatomy and muscles, hands and nails, seductive outfits, extreme hairstyles, body language and facial expressions -- everything you need to draw these powerful women of fantasy.
Author: Christopher Hart
Publisher: Watson-Guptill Publications
ISBN: 9780823029686
Category : Art
Languages : en
Pages : 150
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Book Description
The author's distinctive step-by-step approach to drawing manja shoujo, funny mascots, magical boys, fighting teams, and supporting characters is accompanied by detailed instructions on how to design layouts. Original.
Author:
Publisher:
ISBN:
Category : Popular culture
Languages : en
Pages : 684
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Book Description
Author: MEENACHISUNDARAM.M
Publisher: MS SOFTWARE LABORATORIES
ISBN:
Category : Fiction
Languages : en
Pages : 543
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Book Description
TABLE OF CONTENTS PREFACE.. 6 PART 1. 11 CHAPTER ONE: PLAYING PILGRIMS.. 11 CHAPTER TWO: A MERRY CHRISTMAS.. 22 CHAPTER THREE: THE LAURENCE BOY.. 34 CHAPTER FOUR: BURDENS.. 47 CHAPTER FIVE: BEING NEIGHBORLY.. 59 CHAPTER SIX: BETH FINDS THE PALACE BEAUTIFUL. 73 CHAPTER SEVEN: AMY’S VALLEY OF HUMILIATION.. 80 CHAPTER EIGHT: JO MEETS APOLLYON.. 88 CHAPTER NINE: MEG GOES TO VANITY FAIR.. 100 CHAPTER TEN: THE P.C. AND P.O. 118 CHAPTER ELEVEN: EXPERIMENTS.. 130 CHAPTER TWELVE: CAMP LAURENCE.. 142 CHAPTER THIRTEEN: CASTLES IN THE AIR.. 163 CHAPTER FOURTEEN: SECRETS.. 174 CHAPTER FIFTEEN: A TELEGRAM.. 186 CHAPTER SIXTEEN: LETTERS.. 196 CHAPTER SEVENTEEN: LITTLE FAITHFUL. 205 CHAPTER EIGHTEEN: DARK DAYS.. 214 CHAPTER NINETEEN: AMY’S WILL. 223 CHAPTER TWENTY: CONFIDENTIAL. 232 CHAPTER TWENTY-ONE: LAURIE MAKES MISCHIEF, AND JO MAKES PEACE.. 239 CHAPTER TWENTY-TWO: PLEASANT MEADOWS.. 252 CHAPTER TWENTY-THREE: AUNT MARCH SETTLES THE QUESTION.. 260 PART 2. 272 CHAPTER TWENTY-FOUR: GOSSIP.. 272 CHAPTER TWENTY-FIVE: THE FIRST WEDDING.. 284 CHAPTER TWENTY-SIX: ARTISTIC ATTEMPTS.. 291 CHAPTER TWENTY-SEVEN: LITERARY LESSONS.. 302 CHAPTER TWENTY-EIGHT: DOMESTIC EXPERIENCES.. 309 CHAPTER TWENTY-NINE: CALLS.. 324 CHAPTER THIRTY: CONSEQUENCES.. 337 CHAPTER THIRTY-ONE: OUR FOREIGN CORRESPONDENT.. 350 CHAPTER THIRTY-TWO: TENDER TROUBLES.. 360 CHAPTER THIRTY-THREE: JO’S JOURNAL. 373 CHAPTER THIRTY-FOUR: FRIEND.. 386 CHAPTER THIRTY-FIVE: HEARTACHE.. 402 CHAPTER THIRTY-SIX: BETH’S SECRET.. 413 CHAPTER THIRTY-SEVEN: NEW IMPRESSIONS.. 419 CHAPTER THIRTY-EIGHT: ON THE SHELF.. 431 CHAPTER THIRTY-NINE: LAZY LAURENCE.. 444 CHAPTER FORTY: THE VALLEY OF THE SHADOW... 459 CHAPTER FORTY-ONE: LEARNING TO FORGET.. 465 CHAPTER FORTY-TWO: ALL ALONE.. 477 CHAPTER FORTY-THREE: SURPRISES.. 485 CHAPTER FORTY-FOUR: MY LORD AND LADY.. 502 CHAPTER FORTY-FIVE: DAISY AND DEMI 508 CHAPTER FORTY-SIX: UNDER THE UMBRELLA.. 515 CHAPTER FORTY-SEVEN: HARVEST TIME.. 531 ABOUT THE AUTHOR.. 542 PREFACE This story "**Little Women**" (renamed by the author as Pretty Women) by Louisa May Alcott is one of the most beloved and timeless pieces of American literature, first published in 1868. The novel follows the lives of the four March sisters—Meg, Jo, Beth, and Amy—as they navigate the challenges of growing up during the Civil War era. Alcott’s depiction of family, personal growth, and womanhood has made the novel a classic that resonates with readers across generations. At the heart of **Little Women** is the theme of sisterhood. Each of the March sisters has a distinct personality, and the novel explores how their individual journeys unfold within the context of family dynamics. Meg, the eldest, is the practical and nurturing figure; Jo is the ambitious and independent tomboy; Beth, the shy and gentle peacemaker; and Amy, the youngest, is artistic and self-centered. Their relationships, while fraught with typical sibling rivalry, are ultimately defined by deep love and support. Louisa May Alcott based the characters in **Little Women** on her own family, with Jo March serving as a semi-autobiographical representation of herself. This connection to Alcott’s personal life lends an authenticity to the emotional and domestic struggles depicted in the novel. Alcott’s own frustrations with societal expectations of women are reflected in Jo’s defiance of traditional gender roles and her desire to pursue a writing career. A significant aspect of **Little Women** is its exploration of the societal roles and limitations placed on women in the 19th century. The novel offers a nuanced critique of the idea that a woman’s sole purpose is to marry and tend to a household. Through Jo’s determination to carve her own path and avoid the pressure to conform to societal norms, Alcott challenges the notion of female submission and dependence, making **Little Women** a proto-feminist text. One of the novel’s most poignant themes is the idea of personal sacrifice. Throughout the story, each of the March sisters makes sacrifices, large and small, for the well-being of their family. Meg gives up the luxury she desires for the sake of her modest but loving marriage; Jo sacrifices her personal ambitions to support her family financially; Beth devotes herself selflessly to others, even as her health deteriorates. These sacrifices create a central moral lesson about the rewards of love, selflessness, and responsibility. The setting of **Little Women**—the March family's humble home—serves as a microcosm of domestic life during the Civil War. While the war remains a distant backdrop, its influence looms over the family, with Mr. March away fighting, and the women at home taking on new responsibilities. Alcott uses this context to highlight the resilience of women, who were often left to manage households and support families during times of conflict. Jo’s evolution throughout the novel is one of the most compelling aspects of the story. At the beginning, Jo is a headstrong, rebellious young woman who longs for adventure and is fiercely protective of her family. As the novel progresses, her experiences of loss, love, and responsibility gradually soften her rough edges, and she learns to balance her independence with her deep care for others. Her eventual decision to open a school for boys reflects her maturity and her desire to contribute to society in a meaningful way. One of the most emotional moments in **Little Women** is Beth’s illness and eventual death. Beth, the quietest and most selfless of the sisters, falls ill after a bout of scarlet fever and never fully recovers. Her death marks a turning point in the novel, as it forces the remaining sisters to confront the fragility of life and the depth of their bond. Beth’s passing is handled with great sensitivity, and her character represents the theme of quiet strength in the face of hardship. Romance plays a significant role in **Little Women**, but it is treated with a realism that was unusual for its time. Meg marries John Brooke, a tutor, and their marriage is depicted with all its imperfections and joys. Amy’s relationship with Laurie, who had once been infatuated with Jo, develops slowly and believably. Meanwhile, Jo’s relationship with Professor Bhaer is unconventional, reflecting her resistance to traditional romantic tropes. Alcott’s depiction of love is grounded in mutual respect and shared values, rather than dramatic passion. Alcott’s decision not to pair Jo with Laurie was a surprising and controversial choice for many readers. Laurie’s deep affection for Jo seems to set them up as a natural couple, but Jo’s rejection of him reinforces her desire for independence. Instead, Laurie marries Amy, and Jo eventually finds a more mature and intellectual connection with Professor Bhaer. This decision underscores Alcott’s commitment to portraying relationships that reflect personal growth and compatibility rather than societal expectations. The novel’s portrayal of family relationships is another central theme. The March family, despite their financial struggles, is bound together by love, respect, and mutual support. Marmee, the girls’ mother, is a guiding figure, teaching her daughters the importance of kindness, integrity, and perseverance. The relationship between the sisters, although fraught with typical sibling tensions, is ultimately one of the most enduring aspects of the novel. **Little Women** is often seen as a novel of moral education. Alcott weaves numerous life lessons into the narrative, often imparted by Marmee or learned through the sisters' own experiences. Themes of humility, gratitude, and personal responsibility are woven into the fabric of the story, making it not only a coming-of-age novel but also a guide to navigating life’s challenges with grace and dignity. The character of Jo March has become an iconic figure in literature, representing the struggles of women to balance personal ambition with societal expectations. Jo’s refusal to settle into traditional female roles, her pursuit of a writing career, and her ultimate decision to forge her own path make her a symbol of female empowerment and autonomy. Meg’s storyline, while more traditional than Jo’s, is equally significant. Her marriage to John Brooke and the subsequent challenges they face offer a realistic depiction of domestic life. Meg’s struggle to balance her desire for material comfort with the realities of her modest life serves as a reminder of the importance of love and commitment over wealth. Amy’s transformation from a vain, self-centered girl into a graceful and mature woman is another key aspect of the novel. Her time spent in Europe studying art allows her to grow as a person, and her eventual marriage to Laurie is a testament to her development. Amy’s storyline reinforces the idea that personal growth and self-improvement are essential to achieving lasting happiness. The theme of creativity and artistic ambition runs throughout **Little Women**. Jo’s writing, Amy’s painting, and Beth’s music all serve as outlets for the sisters' passions and talents. Alcott’s own experiences as a writer are mirrored in Jo’s struggles to get published and find her voice. This theme emphasizes the importance of pursuing one’s passions, even in the face of societal limitations. The novel also touches on class differences and social mobility. The March family, though impoverished, maintains a sense of dignity and pride. Their interactions with wealthier characters, such as Laurie and his grandfather, highlight the disparities in social class, but also the possibilities for connection and friendship across class lines. **Little Women** offers a timeless exploration of love, loss, and personal growth. Its enduring popularity can be attributed to the universality of its themes and the relatability of its characters. Each of the March sisters represents a different aspect of womanhood, making the novel accessible to readers of all ages and backgrounds. The novel’s portrayal of grief, particularly in the aftermath of Beth’s death, is one of its most moving elements. Alcott writes with sensitivity about the impact of loss on the family, and the ways in which grief can both strengthen and challenge relationships. This exploration of mortality adds depth and emotional complexity to the narrative. One of the reasons **Little Women** has remained relevant is its progressive portrayal of women. While the novel reflects the societal norms of its time, it also pushes against them in significant ways. Jo’s rejection of marriage and her pursuit of a career, in particular, offer a critique of the limited options available to women in the 19th century. In addition to its feminist themes, **Little Women** also emphasizes the value of community and friendship. The March family’s relationships with their neighbors, particularly the Laurence family, show the importance of mutual support and compassion in times of need. Alcott’s writing style in **Little Women** is marked by its warmth, humor, and insight into human nature. Her characters are vividly drawn, and their dialogue is infused with wit and wisdom. Alcott’s ability to capture the nuances of family life and personal growth is one of the novel’s greatest strengths. The legacy of **Little Women** extends far beyond its initial publication. It has been adapted into numerous films, stage productions, and television series, each bringing new interpretations to Alcott’s story. The novel’s themes of independence, resilience, and love continue to resonate with modern audiences. In conclusion, **Little Women** is a novel that has stood the test of time, offering readers a rich tapestry of themes, characters, and life lessons. Its exploration of family, love, sacrifice, and personal growth makes it a literary classic that continues to inspire and move readers around the world. Louisa May Alcott’s portrayal of the March sisters is not only a reflection of 19th-century womanhood but also a timeless exploration of the human condition.
Author: Julia Edwards
Publisher: Good Press
ISBN:
Category : Fiction
Languages : en
Pages : 138
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Book Description
"Beautiful but poor" by Julia Edwards. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
Author: Zondervan,
Publisher: Zondervan
ISBN: 0310761298
Category : Bibles
Languages : en
Pages : 1472
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Book Description
Discover God’s Word through gorgeous illustrated verses. Crafted on high-quality paper and balanced with inspiring full-color art and blank space for journaling, the NIV Beautiful Word Bible for Girls encourages girls to spend quiet time with God and his Word. This Bible contains 500 illustrated verses to illuminate the rich stories, characters and hope contained within Scripture. It inspires girls to explore new ways to grow their faith, drawing deeper into God’s life-changing Word. Features include: 500 full-color illustrated verses Wide margins and high-quality paper for notes, journal entries or artwork Index of illustrated Scripture passages 8-point font Single-column text of the New International Version (NIV)
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 646
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Book Description
Author: Elizabeth J. Church
Publisher: Ballantine Books
ISBN: 0399181083
Category : Fiction
Languages : en
Pages : 354
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Book Description
“An exquisitely crafted novel of love discovered and friendship found.”—Martha Hall Kelly, author of Lilac Girls Ruby’s life glitters with success, but she still must conquer her tragic past and discover what love really looks like. Lily Decker never meant to become a showgirl. As a young girl in small-town Kansas, she danced to forget the pain of losing her family in a car accident. And dancing made her feel beautiful when the attentions of her Uncle Miles only brought shame. In 1967, Lily is grown and ready to leave her past behind. She changes her name to Ruby Wilde and heads to the Rat Pack’s Las Vegas to make a name for herself as a troupe dancer. However, the competition is fierce and she finds work as a showgirl, instead, doing fan-kicks in sky-high headdresses and sparkling costumes. Her new life brims with glamour and excitement, but something is still missing. Is it love? What choices will she make to feel whole again, and at what cost? With her uncanny understanding of the hidden lives of women, Elizabeth J. Church captures the iconic extravagance of an era and the bravery of a woman who blazes her own path to freedom. Praise for All the Beautiful Girls “[Elizabeth] Church’s lively coming-of-age tale transports us to a world of ostrich-plumed headdresses and pinky-ringed mobsters while tracing a tumultuous quest for acceptance and love.”—People “A gorgeously written novel with the bite of a gin martini, All the Beautiful Girls goes beyond the splashy, gaudy dazzle of Las Vegas in the sixties to reveal the beating heart beneath the glamorous façade of a showgirl with big ambitions.”—Sara Gruen, New York Times bestselling author of At the Water’s Edge “A stirring bildungsroman that follows a girl from trauma in 1957 Kansas to self-discovery in 1960s Las Vegas . . . Church paints an unflinching, frequently heartbreaking portrait of a resilient young woman’s coming-of-age set against an exciting, glamorous backdrop.”—Publishers Weekly “Church’s appreciation of language is apparent as she masterfully creates pictures with words . . . All the Beautiful Girls provides a delightful antidote to cold and dark mid-winter days.”—Associated Press “A beautifully rendered tale of personal redemption filled with friendship, loss, extravagant furs, and feathery headdresses.”—Kirkus Reviews
Author: Fei FeiXue
Publisher: Funstory
ISBN: 164975566X
Category : Fiction
Languages : en
Pages : 952
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Book Description
"Who is he?" The servant tried his best to ignore the fact that his young mistress had flown up and landed on the ground, after mumbling "I didn't see anything" ten times, he respectfully replied, "This is Young Master Ziying, who has an engagement with my young mistress!" The scene of Su Wen Xi holding a baby in his arms and pulling on a skinny and small child filled his mind. His entire body shivered as he shouted, "He looks like a bean sprout!" Su Wen Xi felt that this marriage, no matter what, must be disrupted.
