By V. C. Andrews
Pushed from the Dumas Mansion again to her liked bayou, Ruby's basically desire is that destiny will permit her commence anew...
Living back in a humble shack, Ruby is set to make a safe and chuffed domestic for her valuable youngster daughter, Pearl. Paul Tate -- her old flame, whom she was once pressured to desert -- is at her part once again, now a guy of unbelievable wealth. while he whisks her into his grand residence, it kind of feels their destiny is guaranteed. As mistress of Cypress Woods, Ruby can fail to remember even the surprising 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 negative stories 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 retain to offer 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, eager to locate the whole, gratifying lifestyles she craves, Ruby builds a precarious new life, a flimsy shanty of desire 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)
This has been done nowhere more influentially than in films about the Middle Ages. One of the defining characteristics of ‘medieval films’ is precisely their playful resistance to linear time. Setting a story in the Middle Ages seems to give film makers the licence to question the linear progression from the Middle Ages to modernity by imagining other links to the past, and to envisage alternative ways in which medieval people might have experienced time. 2 Specifically, this chapter discusses four major ways in which straight sexuality enforces straight time, and their disruption in medieval film: the performance of gender; the association of cross-temporal affective links with queerness; the normative concept of patrilinear succession; and the melancholic assumption of gender.
This sort of identification, in which the sixteenth and seventeenth centuries are seen as to some extent the same as the contemporary period, is tacitly permitted, is indeed a necessary part of Early Modern studies; other kinds of identification have not been so fortunate. For instance, the identification of many gay and lesbian scholars with the Renaissance has been carefully policed: from the beginning of what is now called ‘queer work’ in Renaissance studies, people have said that as sexual identities are different now than they were then, this sort of identification is naïve and unscholarly.
3 More precisely, the play exposes the extent to which time relies on the performance of gender. In Gender Trouble, Judith Butler famously formulates that gender is ‘an identity tenuously constituted in time’ (1999, p. 179, my emphasis). 4 What is never questioned is that time is the stable flow that joins these repeated moments into a continuous identity. In a Foucauldian inversion, I would here like to take time not as the given, but as also constructed by gender. What if it is the seeming stability of gender that creates the illusion that time flows in a constant line?