Antelope (Over 2,700 results)

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Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc. Izmylova, Aliya (illustrator).

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Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

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Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

paperback. Condition: Good.

Condition: Very Good. Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.

Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Condition: very_good. Book is in very good condition and may include minimal underlining highlighting. The book can also include "From the library of" labels. May not contain miscellaneous items toys, dvds, etc. . We offer 100% money back guarantee and 24 7 customer service.

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Condition: Good. Izmylova, Aliya (illustrator).

Paperback. Condition: Good. When the fictional eighteen-year-old named Constance Shakespeare joins her brother Will in London in 1592, she's hoping for opportunities not easily available under her father's roof in Stratford, especially not for young women. Naturally confident, Constance relies on a strong sense of independence as she walks through muddy lowlands and shares a carriage with dour and charming men, two giggling girls and one judgmental matron. Once arrived, she learns to navigate a city whose characters range from aristocrats to common folk, from highly educated to illiterate, from plain honest to con artist. She learns to cope with her brilliant (but stubborn and occasionally narrow-minded) brother, and to understand the qualities which give a play value. She learns to judge and to appreciate the butchers and bakers, the shopkeepers and boatmen, the pregnant women and antsy toddlers, and those who have power over them. In Queen Elizabeth's London, Constance Shakespeare finds friendship, purpose, and love--though the paths she travels sometimes take her outside the conventions of Elizabethan society. Through her eyes, we see . heads on pikes on London Bridge? Yes. Skillful and not-so-skillful bartering? Yes. And we see the poetic license of a not-yet-famous playwright, the strategizing of a master spy, the quick, self-organized gathering of men and women when there's a fire to be put out. We watch Constance react to seductive people, and we cheer when she kicks an attempted rapist. Her conversations with her friend Madge prove how clearly ordinary people can see the boundaries their society has drawn for them, and how easily and deliberately they sometimes ignore those boundaries. We see them strong, and at times weak. It's a beautiful book. Shakespearean adaptations and fan fiction about the writer have been around for centuries--from seventeenth century mashups and happy ending versions of Romeo and Juliet to Sarah Sterling's 1905 Shakespeare's Sweetheart (narrated by the poet's wife, who runs off to London disguised as a boy actor), to Virginia Woolf's famous meditations on how gender limited Judith Shakespeare's opportunities, and on to Norman and Stoppard's Shakespeare in Love with its close attention to--among other things--how theaters operate. Fans of this sort of fiction generally recognize something in it which resonates across time. Some pay most attention to families or communities, some to romance, some to the arts, some to political passions, or to the means by which wealth or poverty are created or maintained. In the 21st century, gender-blends and boundaries have sparked much interest and inventive casting. In Shakespeare's Younger Sister, Geoffrey Craig pays attention to all of these. His particular contribution to the genre--Constance Shakespeare and her companions--comes from his wide experience with people and his unfailing curiosity about them. He's lived among the elite and among the impoverished, helped young entrepreneurs establish themselves, stood for the rights of women, worked in the corporate world, befriended and supported individuals whose choices were difficult and unconventional. And thus he's qualified to create Constance, to tweak-and-twiddle with Will, and to populate their world with convincingly human characters. Some adult content.…

Paperback. Condition: Very Good. When the fictional eighteen-year-old named Constance Shakespeare joins her brother Will in London in 1592, she's hoping for opportunities not easily available under her father's roof in Stratford, especially not for young women. Naturally confident, Constance relies on a strong sense of independence as she walks through muddy lowlands and shares a carriage with dour and charming men, two giggling girls and one judgmental matron. Once arrived, she learns to navigate a city whose characters range from aristocrats to common folk, from highly educated to illiterate, from plain honest to con artist. She learns to cope with her brilliant (but stubborn and occasionally narrow-minded) brother, and to understand the qualities which give a play value. She learns to judge and to appreciate the butchers and bakers, the shopkeepers and boatmen, the pregnant women and antsy toddlers, and those who have power over them. In Queen Elizabeth's London, Constance Shakespeare finds friendship, purpose, and love--though the paths she travels sometimes take her outside the conventions of Elizabethan society. Through her eyes, we see . heads on pikes on London Bridge? Yes. Skillful and not-so-skillful bartering? Yes. And we see the poetic license of a not-yet-famous playwright, the strategizing of a master spy, the quick, self-organized gathering of men and women when there's a fire to be put out. We watch Constance react to seductive people, and we cheer when she kicks an attempted rapist. Her conversations with her friend Madge prove how clearly ordinary people can see the boundaries their society has drawn for them, and how easily and deliberately they sometimes ignore those boundaries. We see them strong, and at times weak. It's a beautiful book. Shakespearean adaptations and fan fiction about the writer have been around for centuries--from seventeenth century mashups and happy ending versions of Romeo and Juliet to Sarah Sterling's 1905 Shakespeare's Sweetheart (narrated by the poet's wife, who runs off to London disguised as a boy actor), to Virginia Woolf's famous meditations on how gender limited Judith Shakespeare's opportunities, and on to Norman and Stoppard's Shakespeare in Love with its close attention to--among other things--how theaters operate. Fans of this sort of fiction generally recognize something in it which resonates across time. Some pay most attention to families or communities, some to romance, some to the arts, some to political passions, or to the means by which wealth or poverty are created or maintained. In the 21st century, gender-blends and boundaries have sparked much interest and inventive casting. In Shakespeare's Younger Sister, Geoffrey Craig pays attention to all of these. His particular contribution to the genre--Constance Shakespeare and her companions--comes from his wide experience with people and his unfailing curiosity about them. He's lived among the elite and among the impoverished, helped young entrepreneurs establish themselves, stood for the rights of women, worked in the corporate world, befriended and supported individuals whose choices were difficult and unconventional. And thus he's qualified to create Constance, to tweak-and-twiddle with Will, and to populate their world with convincingly human characters. Some adult content.…

Paperback. Condition: Very Good.

Paperback. Condition: Good. How long is the shadow of genocide? How does it affect the offspring of the survivors? And how do survivors and their families retain a belief in justice when atrocities go unpunished? These questions are addressed in Jerry M. Burger's novel, The Shadows of 1915. The story takes place in Central California in 1953, where Armenian immigrants and their families live one generation removed from the 1915 murder of more than a million Armenians at the hands of the Turkish government. An encounter between the sons of a genocide survivor and some Turkish college students forces each of the main characters to make difficult decisions that pit loyalty to family and community against personal and legal standards of right and wrong. It is a story about a displaced group of people and the consequences of real historic events that have rarely been examined in fiction. It is also a story about culture, family, recovery from tragedy, and the nature of justice.…

Paperback. Condition: Good. The Favorite is, in Cig Harvey's words, an arrow to the heart. Its sixty-four poems are gently shaped into three parts as Watson leads readers into her childhood's world of social privilege, recognizes the psychological costs inhabitants pay, and demonstrates a wide and wonderful range of reactions.Most of the fifteen poems in Part I are based on childhood memories. Four sisters ride uncomfortably in the back seat of the big car, ordered not to wrinkle their Sunday dresses, while their brother rides shotgun and wears what he wants. A girl manages to paddle around in an old canoe, but her sense of freedom comes from keeping herself hidden, or pretending she's Pocahantas. Gender norms strongly favor the family's only boy, and its powerful, charismatic father, whose presence inspires awe and fear, compliance and rebellion. Straight women, passive women, pretty and well-dressed women-enjoy, question, and are damaged by their privilege. In Another Hurricane Coming, for example, we understand what's lost when a mother no longer wants her children to feel the wind. The fifteen poems in Part I stretch the threads first spun in childhood into adolescence, by turns angry, loving, subtle and compassionate. When I Think of My Mother, I See a Closed Door, ends the section appropriately.Part I is longer-- its voice generally older, more accepting, more free in its metaphors, andmarked by a wonderfully wry sense of humor. As Richard Blanco says, Watson tenderly, yetunabashedly, speaks to the allure and trappings of womanhood as she traces its arc from the innocentexpectations of a girl, to the fear of a teenager forced to conform, to a fully actuated woman . self-aware and fully alive with all her past and her future, her pain and healing, her losses and her newfound hopes.…

Paperback. Condition: Very Good. Gretchen Johnson gives a sensitive and humorous account of dating in Southeast Texas. Paige, the heroine of the novel, is a young, recently divorced transplant from Minnesota and a professor of English Literature at Lamar University. She's fascinated by the culture(s) of her adopted state and trying to find a suitable mate. Her take on singleness and the dating scene in Beaumont is alternately witty, hopeful, resigned, and philosophical. The dozen men Paige dates are as real as any of J.D. Vance's hillbillies and as individualized as the folks old Studs Terkel used to interview. Her attitude toward Texas is overall optimistic, though she's aware of the racism, sexism, and classism which her students, her would-be lovers, and at times she herself see as simply natural. Johnson has a poet's keen eye and ear, and something of Sarah Silverman's sense of humor.…

Paperback. Condition: Good. Gretchen Johnson gives a sensitive and humorous account of dating in Southeast Texas. Paige, the heroine of the novel, is a young, recently divorced transplant from Minnesota and a professor of English Literature at Lamar University. She's fascinated by the culture(s) of her adopted state and trying to find a suitable mate. Her take on singleness and the dating scene in Beaumont is alternately witty, hopeful, resigned, and philosophical. The dozen men Paige dates are as real as any of J.D. Vance's hillbillies and as individualized as the folks old Studs Terkel used to interview. Her attitude toward Texas is overall optimistic, though she's aware of the racism, sexism, and classism which her students, her would-be lovers, and at times she herself see as simply natural. Johnson has a poet's keen eye and ear, and something of Sarah Silverman's sense of humor.…

Hardback. Condition: Good. The Favorite is, in Cig Harvey's words, an arrow to the heart. Its sixty-four poems are gently shaped into three parts as Watson leads readers into her childhood's world of social privilege, recognizes the psychological costs inhabitants pay, and demonstrates a wide and wonderful range of reactions.Most of the fifteen poems in Part I are based on childhood memories. Four sisters ride uncomfortably in the back seat of the big car, ordered not to wrinkle their Sunday dresses, while their brother rides shotgun and wears what he wants. A girl manages to paddle around in an old canoe, but her sense of freedom comes from keeping herself hidden, or pretending she's Pocahantas. Gender norms strongly favor the family's only boy, and its powerful, charismatic father, whose presence inspires awe and fear, compliance and rebellion. Straight women, passive women, pretty and well-dressed women-enjoy, question, and are damaged by their privilege. In Another Hurricane Coming, for example, we understand what's lost when a mother no longer wants her children to feel the wind. The fifteen poems in Part I stretch the threads first spun in childhood into adolescence, by turns angry, loving, subtle and compassionate. When I Think of My Mother, I See a Closed Door, ends the section appropriately.Part I is longer-- its voice generally older, more accepting, more free in its metaphors, andmarked by a wonderfully wry sense of humor. As Richard Blanco says, Watson tenderly, yetunabashedly, speaks to the allure and trappings of womanhood as she traces its arc from the innocentexpectations of a girl, to the fear of a teenager forced to conform, to a fully actuated woman . self-aware and fully alive with all her past and her future, her pain and healing, her losses and her newfound hopes.…

Hardcover. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Condition: Acceptable. Item in acceptable condition! Textbooks may not include supplemental items i.e. CDs, access codes etc. Olwell, Carol [photography] (illustrator).

Condition: Very Good. Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.

Paperback. Condition: Very Good. When the president of a toy company, guilty of a tragic negligence, is sentenced to a year of minimum-wage work in an Oregon diner, he loses his familiar Manhattan privileges. But Giles, now Tony, Gibson gradually learns to appreciate the tangles and complexities of ordinary lives, and those who somehow manage to keep on going with compassion and wit. The diner's (secretly kindhearted) boss has other secrets too, as does the curmudgeonly cook. (He'd gone AWOL from Vietnam half a century earlier.) Much of the novel is set in the Sunnyside Up Diner, where staff and clients mingle. There's a drug ring just outside town, headed by the ex-sheriff, a lavender farm whose workers tend to be undocumented, a gay couple who aren't quite in or out of the closet. Each character is an individual, created uniquely by Shari Lane's colors, textures, language, subtle symbols, and deep sense of balance.…