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Over the course of four evocatively described seasons, Patrick must come to grips with his father's intention to remarry, to a woman with a 7-year-old daughter, Claire, he views as a pest-y interloper. Patrick's mother has been dead for a ...

This article advocates the use of bibliotherapy as an adjunct to counseling with stepchildren and remarried adults. Information to guide the selection and use of fiction and self‐help books for children and adolescents is provided. Also mentioned are other audiences and uses for the adolescent fiction.

Talking dogs and nasty bullies make odd yet compatible bedfellows in Paterson's intriguing and eccentric new novel. Josh, who was forced to move from Virginia to Vermont when his mother remarried, hates the cold, snowy climate and is ill at ...

FORTUNES. By Vera Cowie. (Dutton, $18.95.) Sure, ''Fortunes'' contains a glutton's share of sex and intrigue among the super rich, of glamour and betrayal in exotic locales, but it's more than mini-series fodder. Vera Cowie, the popular British author, can also write. When Charles Despard, owner of one of the world's most prestigious auction houses, dies, he leaves a will dividing control of his estate between his plain daughter Kate, who had proudly rejected him when he abandoned her mother for a second marriage, and his stepdaughter

Another sensitive examination of universal emotions in the hearts of affluent WASPs from Robinson, in a novel that depicts a second marriage imperiled by offspring from the first. When Emma Goodwin and Peter Chatfield fall in love in 1984, both ...

“The country is weary of being cheated with plays upon words,” observed James Russell Lowell at the start of the Civil War.¹ “We all declare for liberty,” Abraham Lincoln told a presumably wearier Baltimore audience in 1864, “but in using the samewordwe do not all mean thesame thing.”² Three years later, Edward A. Pollard echoed these claims, arguing that “shallow” partisan accounts had fatally misrepresented Southern values and had thus played a more than nominal role in driving the nation to war: it was wrong to call the “system of negro servitude” slavery or the “war of

Lyga has crafted credible protagonists in his first work of fiction about two misfit teens who forge a friendship. Donnie (aka Fanboy) is a comic-book aficionado, who lives with his newly remarried, pregnant mother and his \"step-fascist.\" Rule-abiding and honest, ...

In \"German Texts as American Books,\" the second and longest part of the study, [Lynne Tatlock] examines thirty translated novels by eighteen authors. Similarities between these books, Tatlock notes, point to \"the emergence of a German genre in America\" (30), and in the four chapters in this section she traces the thematic contours of this genre. The first chapter focuses on the highly popular novels of [E. Marlitt] (Tatlock's own database includes 250 American editions of Marlitt's ten novels); in Marlitt's works, American translators and publishers found a formula for commercial success that came to characterize the \"good read\" that was \"made in Germany.\" Each of the remaining three chapters addresses a key aspect or subgenre within this set of texts: the happy ending, the novel of remarriage, and the portrayal of masculinity. In her discussion of the plots and themes of these novels, Tatlock draws connections to works of canonical literature (by authors such as Storm, Freytag, Raabe, and Thomas Mann, as well as Charlotte Brontë), thereby locating popular literature within established trajectories of literary history. Woven into these analyses is consideration of three key questions: why Ameri- cans liked these books, how the books portray German culture, and to what extent the novels remain \"German\" in translated form. In many cases these books hardly registered as German, or German only in terms of their attractively foreign settings featuring castles and aristocrats. Tatlock argues, however, that by combining \"foreign\" German settings and characters with well-established American values, among them the importance of marriage and domesticity in service to the nation, these German novels appealed to American readers in ways that translations from other languages did not. The Americanized German stories held an appeal similar to that of the fairy tale, offering endlessly interesting variations on comfortingly familiar plots. In American translation, Germany came to stand for \"happy endings, reconciliation, acknowledgement within marriage, emotion, and gendered virtue\" (194). As disorient- ing as this image of Germany might seem to contemporary Americans, even American Germanists, it did indeed exist in the world of the domestic novel, as Tatlock's study convincingly shows.

Many books are reviewed, including: 1. Sweet Olive, by Judy Christie. 2. Trapped, by Irene Hannon. 3. Beloved, by Robin Lee Hatcher.