Shakespeare for CSEC is designed to enhance students' knowledge, understanding and response. Produced specifically for students working towards the English B for CSEC examination, it contains a range of valuable features to enable a deeper understanding and appreciation of the text. Introductory essays provide social, cultural and historical context, and CSEC examination-style questions provide valuable practice, building students' confidence ahead of the assessment.

‘Proust redefined the terms of fiction … a profound and often very witty masterpiece whose influence continues to pervade the body politic of imaginative prose’ 
Robert McCrum, Guardian Favourite Books of the Twentieth Century

The Prisoner and The Fugitive fulfill Swann’s much earlier warning to Marcel: ‘Though the subjection of the woman may briefly allay the jealousy of the man, it eventually makes it even more demanding’, as Marcel and Albertine are locked in a cycle of mistrust that threatens both their identities. But these are also novels of great lyrical excitement and beauty – in the Parisian street cries, the Vinteuil concert and Proust’s virtuoso description of Venice. Above all, these two works deal with the theme of the explosion and impact of memory that runs throughout In Search of Lost Time, pointing the reader towards its resolution.

The book is about my cat Missy. The reason I wrote the book is because she had an unusal personality. I thought she needed to tell her story. The book is written as if she were telling it, I just put her words on the paper. I think any person that is either a cat lover or an animal lover will enjoy the book. It is a book that is written so even children will be able to read or have it read to them.

Anne Rockford has it all. A handsome husband, a secure marriage, and three wonderful teenage children. But her world tumbles into a nightmare of secrets and lies when she receives a shocking letter: Anne's husband, a popular and respected professor of Romantic Poetry of the 19th century, has seduced not only her best friend but numerous other young women. In the aftermath of this appalling discovery, lives are lost, reputations are ruined, and Anne's own life is threatened. On the coast of California, Anne gathers, tumbles, and polishes beach rocks-one of her hobbies-and muses that, like the rocks crashing into each other in the tumbling drum, some people come out of the process of life's buffeting cracked open by hidden pressures. Others are chipped at the edges, leaving raw surfaces, and still others turn out as clear and lovely as gemstones. Along Anne's painful journey of discovery and healing-as she learns the stories of the damaged women and gains unexpected champions-she encounters all three kinds. Tumbling Stones is the compelling story of a woman who finds the strength to reclaim her life-and her self-worth-after a shattering betrayal. In the aftermath of this appalling discovery, lives are lost, reputations are ruined, and Anne's own life is threatened. On the coast of California, Anne gathers, tumbles, and polishes beach rocks-one of her hobbies-and muses that, like the rocks crashing into each other in the tumbling drum, some people come out of the process of life's buffeting cracked open by hidden pressures. Others are chipped at the edges, leaving raw surfaces, and still others turn out as clear and lovely as gemstones. Along Anne's painful journey of discovery and healing-as she learns the stories of the damaged women and gains unexpected champions-she encounters all three kinds. Tumbling Stones is the compelling story of a woman who finds the strength to reclaim her life-and her self-worth-after a shattering betrayal

What do a little girl and a train have to do with salvation? This book explains God's grace through a girl named Grace, a train, an engineer, and a ticket. Then it lets kids have fun cutting, pasting and playing with their own ticket for hands-on experience with John 3:16.

"Like John S. Brushwood's La novela mexicana, 1967-1982 (1985) . . . D'Lugo's book explores theme and structure in the modern Mexican novel, going beyond her titular emphasis to a thorough stylistic analysis of Mexico's landmark novels by Mariano Azuela to Maria Luisa Puga." --Choice "This book is a most significant contribution to the field of Mexican literature. It offers excellent insights into the issue of fragmentation: how it works, how it differs among a variety of novels, what its effects are in fiction. . . . The scholarship is superb." --Raymond L. Williams, author of The Writings of Carlos Fuentes From Mariano Azuela's 1915 novel Los de abajo to Rosamaria Roffiel's Amora of 1989, fragmented narrative has been one of the defining features of innovative Mexican fiction in the twentieth century. In this innovative study, Carol Clark D'Lugo examines fragmentation as a literary strategy that reflects the social and political fissures within modern Mexican society and introduces readers to a more participatory reading of texts. D'Lugo traces defining moments in the development of Mexican fiction and the role fragmentation plays in each. Some of the topics she covers are nationalist literature of the 1930s and 1940s, self-referential novels of the 1950s that focus on the process of reading and writing, the works of Carlos Fuentes, novels of La Onda that came out of rebellious 1960s Mexican youth culture, gay and lesbian fiction, and recent women's writings. With its sophisticated theoretical methodology that encompasses literature and society, this book serves as an admirable survey of the twentieth-century Mexican novel. It will be important reading for students of Latin Americanculture and history as well as literature.

From Mariano Azuela's 1915 novel Los de abajo to Rosamaria Roffiel's Amora of 1989, fragmented narrative has been one of the defining features of innovative Mexican fiction in the twentieth century. In this innovative study, Carol Clark D'Lugo examines fragmentation as a literary strategy that reflects the social and political fissures within modern Mexican society and introduces readers to a more participatory reading of texts.

D'Lugo traces defining moments in the development of Mexican fiction and the role fragmentation plays in each. Some of the topics she covers are nationalist literature of the 1930s and 1940s, self-referential novels of the 1950s that focus on the process of reading and writing, the works of Carlos Fuentes, novels of La Onda that came out of rebellious 1960s Mexican youth culture, gay and lesbian fiction, and recent women's writings.

With its sophisticated theoretical methodology that encompasses literature and society, this book serves as an admirable survey of the twentieth-century Mexican novel. It will be important reading for students of Latin American culture and history as well as literature.