When Carol overhears her father's plans to force her into a marriage, she takes matters into her own hands. Changing her name and appearance, Carol sets out to face the world alone. Bill Preston is on a fast track to having the part in a play he always wanted. His life was going just as planned, until he played the part of a groom, and found himself harboring very real feelings for his pretend bride. Separated by a maze of lies and deception, Carol and Bill must fight to find each other. But can love, born in a lie, last?

When Candice Curry was a little girl, she put her hand in her father's back pocket so that she wouldn't get lost in large crowds. Little did she know that as she followed him, he was plying his trade: conning people. Her family drove stolen cars, lived in stolen houses, and shopped with stolen credit cards. Drug use was regular, as were visits from strange people who were trying to track her father down. Though she eventually cut ties with her father, Candice could not ignore the scars that were left from her childhood. This is her story, one steeped in secrets but one that, ultimately, led her to a place of forgiveness and freedom. As she struggles to understand her criminal father, as well as her own imperfect life, Candice comes to realize that we are not defined by our circumstances but rather by how we react to those circumstances. She's found peace in the knowledge that God doesn't love us because we're perfect--but because he is.

When Groucho Marx was well into his eighties, Charlotte Chandler approached him about writing a profile of him for a magazine. Groucho invited Charlotte to meet and that meeting grew into a friendship that lasted until Groucho's death in August 1977. Groucho was surrounded by a group of friends - some old timers like George Burns and Jack Benny - some younger comedians, like Woody Allen, who revered Groucho. Charlotte was present for most of these meetings and these conversations form the basis of HELLO, I MUST BE GOING. Some are hilarious, some are poignant, all of them are fascinating. If you ever wondered what it was like to spend some time with Groucho Marx, one of the wittiest men ever, this is your book.

DigiCat Publishing presents to you this special edition of "The Duke's Children" by Anthony Trollope. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

No other silent film director has been so extensively studied as D. W. Griffith. However, only a small group of his more than 500 films has been the subject of a systematic analysis and the vast majority of his other works stills await proper examination. For the first time in film studies, the complete creative output of Griffith - from Professional Jealousy (1907) to The Struggle (1931) - will be explored in this multi-volume collection of contributions from an international team of leading scholars in the field. Created as a companion to the on-going retrospective held by the Pordenone Silent Film Festival, The Griffith Project is an indispensable guide to the work of a crucial figure in the arts of the nineteenth century. With contributions from Eileen Bowser, Tom Gunning, Kristin Thompson, Ben Brewster, Steven Higgins, Richard Koszarski, Scott Simmon, J.B. Kaufman, Russell Merritt, Patrick Loughney, Cooper Graham, Andre Gaudreault, Yuri Tsivian, Richard Allen.

Child and Youth Agency in Science Fiction: Travel, Technology, Time intersects considerations about children’s and youth’s agency with the popular culture genre of science fiction. As scholars in childhood studies and beyond seek to expand understandings of agency in children’s lives, this collection places science fiction at the heart of this endeavor. Retellings of the past, narratives of the present, and new landscapes of the future, each explored in science fiction, allow for creative reimaginings of the capabilities, movements, and agency of youth. Core themes of generation, embodiment, family, identity, belonging, gender, and friendship traverse across the chapters and inform the contributors’ readings of various film, literature, television, and virtual media sources. Here, children and youth are heterogeneous, and agency as a central analytical concept is interrogated through interdisciplinary, intersectional, intergenerational, and posthuman analyses. The contributors argue that there is vast power in science fiction representations of children’s agency to challenge accepted notions of neoliberal agency, enhance understandings of agency in childhood studies, and further contextualize agency in the lives, voices, and cultures of youth.