Accomplished American artist Stella Wright’s beachside home in Cape Town is perched on the edge of land and sea, safety and vulnerability, the domestic and the wild. When Stella takes an afternoon swim, she is unprepared for the drama that unfolds. She and a nearby surfer are tracked by a giant great white shark that swims close enough so she can look it in the eye, leaving the two of them deeply traumatised.

The surfer – Ben – is a waterman who paints trawlers for a living. There is an almost instant attraction between them, but Stella is married to wealthy American financier Jack Barlow, and she and her husband are preparing to leave the country.

Stella and Ben begin a passionate affair. The two of them must face their fear of the water; Stella because beaches and oceans form the basis of her art, Ben because surfing is his passion. Into this situation Jack returns from overseas to tie up their affairs and bring Stella back to New York.

Stella must make a choice between the man who has reawakened her original passion for art, and the man who can give her everything else the world has to offer.

My Side of the Ocean is a novel of great empathy and insight, exploring essential questions about what it means to live, and love, when the secure foundations of a life have been ripped away.

Since 1950, the South has undergone the most dramatic political transformation of any region in the United States. The once Solid-meaning Democratic-South is now overwhelmingly Republican, and long-disenfranchised African Americans vote at levels comparable to those of whites. In The Rational Southerner, M.V. Hood III, Quentin Kidd, and Irwin L. Morris argue that local strategic dynamics played a decisive and underappreciated role in both the development of the Southern Republican Party and the mobilization of the region's black electorate. Mobilized blacks who supported the Democratic Party made it increasingly difficult for conservative whites to maintain control of the Party's machinery. Also, as local Republican Party organizations became politically viable, the strategic opportunities that such a change provided made the GOP an increasingly attractive alternative for white conservatives. Blacks also found new opportunities within the Democratic Party as whites fled to the GOP, especially in the deep South, where large black populations had the potential to dominate state and local Democratic Parties. As a result, Republican Party viability also led to black mobilization.
Using the theory of relative advantage, Hood, Kidd, and Morris provide a new perspective on party system transformation. Following a theoretically-informed description of recent partisan dynamics in the South, they demonstrate, with decades of state-level, sub-state, and individual-level data, that GOP organizational strength and black electoral mobilization were the primary determinants of political change in the region. The authors' finding that race was, and still is, the primary driver behind political change in the region stands in stark contrast to recent scholarship which points to in-migration, economic growth, or religious factors as the locus of transition. The Rational Southerner contributes not only to the study of Southern politics, but to our understanding of party system change, racial politics, and the role that state and local political dynamics play in the larger context of national politics and policymaking.

At the turn of the twentieth century, the United States was growing by fits and starts into its new role as a global power. Unlike European empires, it sought to distinguish itself as a new kind of power. Corporations and media outlets were spreading American brands, ideas, and commodities worldwide, increasing we would today call soft power. Meanwhile, American citizens and government officials grappled with their nation's rising prominence and debated how best to engage with the wider world. One of those ways was to use foreign aid to define the nation's new role and responsibilities with regards to the international community. This first book narrates the early history of American foreign relief and assistance as a way of guiding the international community in peaceful cooperation and modernization towards greater stability and democracy. It tells the story of how the United States government came to realize the value of overseas aid as a tool of statecraft. A prime case in point is the American Red Cross, a quasi-private, quasi-state organization. Established in 1882, the ARC was a privately funded and staffed organization, primarily dependent on volunteer labor. However, it shared a special relationship with the U.S. government, formalized by Congressional charters, which made it the "official voluntary" aid association of the United States in times of war and natural disaster. Together, international-minded American progressives-a generation of American health professionals, social scientists, and public intellectuals-made the ARC into a vehicle for the global dissemination of their ideas about health, social welfare, and education. They urged their fellow citizens to reject their traditional attachments to isolationism and non-entanglement and to commit to "humanitarian internationalism." Their international activities included feeding, housing, and anti-epidemic projects in wartime France, Italy, Russia, and Serbia; the development of playgrounds, education initiatives, and child health clinics in postwar Poland and Czechoslovakia; correspondence programs to unite American children and their international peers; and the extension of all of these efforts to U.S. territories, sites where the conceptual lines between foreign and domestic blurred in the U.S. imagination. This history calls attention to the ways that private organizations have served the diplomatic needs of the U.S. state, as well as been an institutional space for Americans who wanted to participate in international affairs in ways that deviated from official state agendas. By the mid-1920s, voluntary humanitarian interventionism had become the basis for a new set of American civic and political obligations to the world community.

Eight more animated adventures for children from the underwater town of Bikini Bottom. SpongeBob (voice of Tom Kenny) is an enthusiastic sea sponge who embraces life and all its challenges. Among his fellow inhabitants of Bikini Bottom are Mr Krabs (Clancy Brown), a miserly crab, Patrick Star (Bill Fagerbakke), an amiable sea star, and Squidward (Rodger Bumpass), an octopus. A number of the town's inhabitants, including SpongeBob, work at the local fast food restaurant, Krusty Krab, where Bob attempts to perfect his burger flipping technique. Episodes are: 'Back to the Past', 'The Bad Guy Club for Villains', 'Keep Bikini Bottom Beautiful', 'A Pal for Gary', 'Yours, Mine and Mine', 'Kracked Krabs', 'A Day Without Tears' and 'Summer Job'.

Internationally bestselling author Sophie Irwin brings us another delightful, escapist historical romance, led by an audacious heroine who has suddenly inherited a fortune-but it has strings attached... When shy Miss Eliza Balfour married the austere Earl of Somerset, twenty years her senior, it was the match of the season--no matter that he was not the husband Eliza wanted. Now, ten years later, Eliza is widowed. Suddenly, she is left titled, rich, and, for the first time in her life, utterly in control of her own future. She's always lived by society's conventions, but now, Eliza has resolved to do as she wants. And what she wants is to head to Bath with her cousin Margaret, pursue painting, learn to drive, and flirt with Bath's most alluring new resident, the infamous Lord Melville. But when the ripples of Eliza's behavior reach her late husband's nephew-who broke Eliza's heart, years ago--Eliza will learn that freedom does not come without consequences. The only way to ensure she can keep her fortune is to avoid all scandal-but where's the fun in that?

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.