"Cheat River Three," is a true life adventure immersed in circumstantial fiction The adventures in this novel were based on true stories of my infamous father's wild life, intertwined with tales of a fictional heroine that rivals him with her own special free spirited exploits. Their quest for adventure would separate them and take them independently far away, but tragedy and love would eventually reunite them and return them home. Cheat River Three will take the reader on an emotional roller coaster of humor and excitement as well as pull at their heartstrings.

"if the reader is right with them hearing them speak, readers will both laugh and cry with this"

"'Cheat River Three', just as with his other stories, Sweeney knows how to hook a reader and keep them flipping pages and gobbling up his words Eugene, James and Kat are wonderfully drawn characters that seemed real and familiar. Their exploits and stories will have you laughing and crying the whole time. Melissa Caldwell, Must Read Faster

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Austin Brook is a typical Indiana farm boy who grew up in the mid nineteen seventies, handsome, hardworking, and raised with a strong religious foundation. But Austin was not content with spending the rest of his life shoveling silage; he aspired to see what more the world would offer. Never in his wildest dreams could he imagine what his future had in store. His ticket off the farm came in the form of an acceptance letter to Notre Dame. Notre Dame was where Austin befriended and also betrayed the trust of his roommate Tommy O'Shea. Tommy was also a farm lad, but on a different scale, the O'Shea's were a wealthy aristocratic family from Ireland. All was well until Tommy confided in Austin and revealed a secret only known by a select few families or clans in Europe and parts of the Christian community in the Middle East. The "secrete" is an unwritten lore of great biblical significance, revealing a priceless gift of unbelievable beauty, and mysterious powers. However you will find out this beauty was not meant to be seen by all eyes. Little did Tommy know that his trusted secret would end up in print, get Austin in hot water with the University and end the boys' friendship. The betrayed roommate would leave his American counterpart and return to his homeland, little did Tommy know that the secret lore he shared with Austin would come back to haunt his Irish family. Austin would go to Ireland a few years later to find Tommy, not as a friend, but as a United States Navy Seal; he would be working in conjunction with the C.I.A. and British intelligence. Apparently, Austin wasn't the only one who found out about Tommy's Irish lore. According to secret intelligence one wealthy treasure hunter is willing to fund terror groups in return for finding and retrieving this priceless bounty. Worse yet, some intelligence suggest that reward for this treasure will be paid not in currency or bonds, but something much worse. The "much worse" part is why the United States and England are frantically searching as well. So it's a race to find the "Tears of Mary." Would they be able to find them in time before the bad guys? Austin has several mysterious encounters with both good and evil forces, falls in love and in the end saves the day. Or does he? Read the book

This monograph details Gutzkow's recurring use of performance-within-the-play as a means of encouraging an active, political response by the audience. He incorporates an internal audience viewing a performance on stage in order to model an ideal of dramatic reception for the audiences of his own play. Gutzkow structures the narrative contextualization of these performances as reflections of specific issues in the German states of the Vormarz. Beginning with an overview of theoretical and literary texts from the 1830s, this study traces Gutzkow's transferral of self-reflexive structures from his novels of this decade into his first staged play, Richard Savage (1839), and on through Das Urbild des Tartuffe (1844) and Uriel Acosta (1845). It concludes by portraying Der Konigsleutnant (1849) as a transitional work that shows Gutzkow's decision to return to the novel as a consequence of the failure of his plays to attain the reception he intended. By using the coherency of the communicated message instead of fealty to aesthetic norms as the evaluative criteria for discussing Gutzkow's plays, the book exposes an innovative mode of specifically literary social criticism in these works that complements their traditional assessment as documentation of the cultural history of Liberalism in this period.

Florence in the Early Modern World offers new perspectives on this important city by exploring the broader global context of the fifteenth and sixteenth centuries, within which the experience of Florence remains unique. By exploring the city's relationship to its close and distant neighbours, this collection of interdisciplinary essays reveals the transnational history of Florence. The chapters orient the lenses of the most recent historiographical turns perfected in studies on Venice, Rome, Bologna, Naples, and elsewhere towards Florence. New techniques, such as digital mapping, alongside new comparisons of architectural theory and merchants in Eurasia, provide the latest perspectives about Florence's cultural and political importance before, during, and after the Renaissance. From Florentine merchants in Egypt and India, through actual and idealized military ambitions in the sixteenth-century Mediterranean, to Tuscan humanists in late medieval England, the contributors to this interdisciplinary volume reveal the connections Florence held to early modern cities across the globe. This book steers away from the historical narrative of an insular Renaissance Europe and instead identifies the significance of other global influences. By using Florence as a case study to trace these connections, this volume of essays provides essential reading for students and scholars of early modern cities and the Renaissance.

Florence in the Early Modern World offers new perspectives on this important city by exploring the broader global context of the fifteenth and sixteenth centuries, within which the experience of Florence remains unique. By exploring the city's relationship to its close and distant neighbours, this collection of interdisciplinary essays reveals the transnational history of Florence. The chapters orient the lenses of the most recent historiographical turns perfected in studies on Venice, Rome, Bologna, Naples, and elsewhere towards Florence. New techniques, such as digital mapping, alongside new comparisons of architectural theory and merchants in Eurasia, provide the latest perspectives about Florence's cultural and political importance before, during, and after the Renaissance. From Florentine merchants in Egypt and India, through actual and idealized military ambitions in the sixteenth-century Mediterranean, to Tuscan humanists in late medieval England, the contributors to this interdisciplinary volume reveal the connections Florence held to early modern cities across the globe. This book steers away from the historical narrative of an insular Renaissance Europe and instead identifies the significance of other global influences. By using Florence as a case study to trace these connections, this volume of essays provides essential reading for students and scholars of early modern cities and the Renaissance.

This innovative cultural history of financial risk-taking in Renaissance Italy argues that a new concept of the future as unknown and unknowable emerged in Italian society between the mid-fifteenth and mid-sixteenth centuries. Exploring the rich interchanges between mercantile and intellectual cultures underpinning this development in four major cities - Florence, Genoa, Venice, and Milan - Nicholas Scott Baker examines how merchants and gamblers, the futurologists of the pre-modern world, understood and experienced their own risk taking and that of others. Drawing on extensive archival research, this study demonstrates that while the Renaissance did not create the modern sense of time, it constructed the foundations on which it could develop. The new conceptions of the past and the future that developed in the Renaissance provided the pattern for the later construction a single narrative beginning in classical antiquity stretching to the now. This book thus makes an important contribution toward laying bare the historical contingency of a sense of time that continues to structure our world in profound ways.

Germans are often accused of failing to take responsibility for Nazi crimes, but what precisely should ordinary people do differently? Indeed, scholars have yet to outline viable alternatives for how any of us should respond to terror and genocide. And because of the way they compartmentalize everyday life, our discipline-bound analyses often disguise more than they illuminate. Written by a historian, literary critic, philosopher, and theologian, The Happy Burden of History takes an integrative approach to the problem of responsible selfhood. Exploring the lives and letters of ordinary and intellectual Germans who faced the ethical challenges of the Third Reich, it focuses on five typical tools for cultivating the modern self: myths, lies, non-conformity, irony, and modeling. The authors carefully dissect the ways in which ordinary and intellectual Germans excused their violent claims to mastery with a sense of 'sovereign impunity.'They then recuperate the same strategies of selfhoodfor our contemporary world, but in ways that are self-critical and humble. The book shows how viewing this problem from within everyday life can empower and encourage usto bear the burden of historical responsibility - and be happy doing so.

This innovative cultural history of financial risk-taking in Renaissance Italy argues that a new concept of the future as unknown and unknowable emerged in Italian society between the mid-fifteenth and mid-sixteenth centuries. Exploring the rich interchanges between mercantile and intellectual cultures underpinning this development in four major cities - Florence, Genoa, Venice, and Milan - Nicholas Scott Baker examines how merchants and gamblers, the futurologists of the pre-modern world, understood and experienced their own risk taking and that of others. Drawing on extensive archival research, this study demonstrates that while the Renaissance did not create the modern sense of time, it constructed the foundations on which it could develop. The new conceptions of the past and the future that developed in the Renaissance provided the pattern for the later construction a single narrative beginning in classical antiquity stretching to the now. This book thus makes an important contribution toward laying bare the historical contingency of a sense of time that continues to structure our world in profound ways.

In the middle decades of the sixteenth century, the republican city-state of Florence--birthplace of the Renaissance--failed. In its place the Medici family created a principality, becoming first dukes of Florence and then grand dukes of Tuscany. The Fruit of Liberty examines how this transition occurred from the perspective of the Florentine patricians who had dominated and controlled the republic. The book analyzes the long, slow social and cultural transformations that predated, accompanied, and facilitated the institutional shift from republic to principality, from citizen to subject. More than a chronological narrative, this analysis covers a wide range of contributing factors to this transition, from attitudes toward office holding, clothing, and the patronage of artists and architects to notions of self, family, and gender. Using a wide variety of sources including private letters, diaries, and art works, Nicholas Baker explores how the language, images, and values of the republic were reconceptualized to aid the shift from citizen to subject. He argues that the creation of Medici principality did not occur by a radical break with the past but with the adoption and adaptation of the political culture of Renaissance republicanism.