The Dare and Love Kills (Tales of Seduction Book 7)

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School is absolutely awful. Kyle suddenly become "Mr. Popular" while you become the center of rumors. Now, who will defend your reputation? Sometimes, when rumors spread our, all you can do is smile, move on, hold back tears and pretend everything is ok. Be Brave!

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Things are heating up between you and Kyle, but will your family get in the way? Kyle has been there for you when you really needed him and when you're with him, the world just disappears. But how long will this last? Not everyone has a happy family, but when something bad happens, how far would you go to protect yourself and your loved ones? You survive a lethal confrontation with a loved one, which deepens other relationships in your life.

But rumors are flying - will you survive the gossip? Cali goes to court to make sure the mother who attacked her stays in jail. Can she handle the stress? Cali and Kyle attend Homecoming, where Cali wins a surprise honor. Then they slip away for some private time in a secluded spot. Cali considers giving in to her feelings for Kyle, until they are Cali and Kyle meet Bill and his ill wife Mary, you've been married for over fifty years.

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The young couple is so moved by the older couple's love story that they vow to help Mary survive any way Cali finally turns eighteen, so she and Kyle celebrate in the most special way possible. Will Kyle bare his soul to her now about his dark past? Cali takes the lead on coordinating the Leukemia Fundraider to save Mary. Can she convince the school board to let the benefit happen on the football field? Everything of your fundraiser goes well, however, some conflicts show up in your relationships with Kyle.

Can you handle these well? Finally your big day comes.

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Here is full of surprises. Can you act your role as a leader well? There comes too many trouble towards you. Will Kyle help you get rid of them, or will you conquer them together? When you are spreading love and helping people, all the unhappiness in the past should be forgived. The authorship controversy has yet to surface a compelling alternative to the man buried in Stratford. The case for Emilia Bassano. On a spring night in , I stood on a Manhattan sidewalk with friends, reading Shakespeare aloud. I remembered where I was when I first heard those lines: in my 10th-grade English class, startled out of my adolescent stupor by this woman rebelling magnificently and malevolently against her submissive status.

To hear more feature stories, see our full list or get the Audm iPhone app. And when the plays lean on historical sources Plutarch, for instance , they feminize them, portraying legendary male figures through the eyes of mothers, wives, and lovers. Theories that others wrote the corpus of work attributed to William Shakespeare who was born in Stratford-upon-Avon in and died in emerged in the midth century.

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But more than two centuries passed before alternative contenders began to be promoted—Francis Bacon; Christopher Marlowe; and Edward de Vere, the 17th earl of Oxford, prominent among them. In response, orthodox Shakespeare scholars have settled into dogmatism of their own. The time had come, I felt, to tug at the blinkers of both camps and reconsider the authorship debate: Had anyone ever proposed that the creator of those extraordinary women might be a woman?

None of the candidates has succeeded in dethroning the man from Stratford. Eight disguise themselves as men, outwitting patriarchal controls—more gender-swapping than can be found in the work of any previous English playwright. Six lead armies. The prevailing view, however, has been that no women in Renaissance England wrote for the theater, because that was against the rules. The stage was off-limits. Yet scholars have lately established that women were involved in the business of acting companies as patrons, shareholders, suppliers of costumes, and gatherers of entrance fees.

At least one eminent Shakespeare scholar, Phyllis Rackin, of the University of Pennsylvania, challenges the blanket assumption that the commercial drama pouring forth in the period bore no trace of a female hand. A tantalizing nudge lies buried in the writings of Gabriel Harvey, a well-known Elizabethan literary critic. Until recently, that is, when a few bold outliers began to advance the case that Shakespeare might well have been a woman. One candidate is Mary Sidney, the countess of Pembroke and beloved sister of the celebrated poet Philip Sidney —one of the most educated women of her time, a translator and poet, and the doyenne of the Wilton Circle, a literary salon dedicated to galvanizing an English cultural renaissance.

But the candidate who intrigued me more was a woman as exotic and peripheral as Sidney was pedigreed and prominent. Could Bassano have contributed even more widely and directly? Was I getting carried away, reinventing Shakespeare in the image of our age? Perhaps the time was finally ripe for us to see her.

Their ideas about the authorship of the plays and poems differ, but they concur that Shakespeare is not the man who wrote them. Their doubt is rooted in an empirical conundrum. The more than 70 documents that exist show him as an actor, a shareholder in a theater company, a moneylender, and a property investor. They show that he dodged taxes, was fined for hoarding grain during a shortage, pursued petty lawsuits, and was subject to a restraining order.

The profile is remarkably coherent, adding up to a mercenary impresario of the Renaissance entertainment industry. No such void exists for other major writers of the period, as a meticulous scholar named Diana Price has demonstrated. Many left fewer documents than Shakespeare did, but among them are manuscripts, letters, and payment records proving that writing was their profession. Ben Jonson, among others, got in his digs, too. How did the man born in Stratford acquire the wide-ranging knowledge on display in the plays—of the Elizabethan court, as well as of multiple languages, the law, astronomy, music, the military, and foreign lands, especially northern Italian cities?

Perhaps he traveled, joined the army, worked as a tutor, or all three, scholars have proposed. A wealthy man when he retired to Stratford, he was meticulous about bequeathing his properties and possessions his silver, his second-best bed. Nor did he leave any musical instruments, though the plays use at least musical terms and refer to 26 instruments.

He remembered three actor-owners in his company, but no one in the literary profession. Strangest of all, he made no mention of manuscripts or writing. My delving left me in agreement, not that the briefs for the male alternatives struck me as compelling either. Just think of how obsessed the work is with mistaken identities, concealed women, forged and anonymous documents—with the error of trusting in outward appearances. Hudson first learned of Bassano from A. Rowse, who discovered mention of her in the notebooks of an Elizabethan physician and astrologer named Simon Forman.

And that is only the start.

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And her imprint, as Hudson reads the plays, extends over a long period. He notes the many uses of her name, citing several early on—for instance, an Emilia in The Comedy of Errors. Bassanio is a spelling of their name in some records. Bassano was still alive, and by then had known her share of hardship at the hands of men. I have those hopes of her good that her education promises.

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In , Bertie was named ambassador to Denmark by the queen and sent to the court at Elsinore—the setting of Hamlet. Records show that the trip included state dinners with Rosencrantz and Guildenstern, whose names appear in the play. Was Bassano then just entering her teens on the trip? In any case, Hudson argues, she would have heard tales on his return. Later, as the mistress of Henry Carey 43 years her senior , Bassano gained access to more than the theater world. And then, in late , Bassano now 23 was expelled from court. She was pregnant. A few months later, she had a son. Despite the glittering dowry, Lanier must not have been pleased. Bassano was later employed in a noble household, probably as a music tutor, and roughly a decade after that opened a school. But the family link to the home country offers support for the fine-grained familiarity with the region that along with in-depth musical knowledge any plausible candidate for authorship would seem to need—just what scholars have had to strain to establish for Shakespeare.

Perhaps, theories go, he chatted with travelers or consulted books. Her Bassano lineage—some scholars suggest the family were conversos, converted or hidden Jews presenting as Christians—could also help account for the Jewish references that scholars of the plays have noted. Thou wert as good kiss our arse.

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Hudson sees her misery reflected in the sonnets, thought to have been written from the early s to the early s. The overlap lies in the feminist content.

The Dare and Love Kills (Tales of Seduction Book 7) The Dare and Love Kills (Tales of Seduction Book 7)
The Dare and Love Kills (Tales of Seduction Book 7) The Dare and Love Kills (Tales of Seduction Book 7)
The Dare and Love Kills (Tales of Seduction Book 7) The Dare and Love Kills (Tales of Seduction Book 7)
The Dare and Love Kills (Tales of Seduction Book 7) The Dare and Love Kills (Tales of Seduction Book 7)
The Dare and Love Kills (Tales of Seduction Book 7) The Dare and Love Kills (Tales of Seduction Book 7)
The Dare and Love Kills (Tales of Seduction Book 7) The Dare and Love Kills (Tales of Seduction Book 7)
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