Callie Houston has become good at juggling. Between college, working three jobs, and having to attend every family function her socialite mother throws her way, she's become a pro.Juggling her responsibilities leaver her no time, or energy, for romance. That is, until a very sexy Cajun walks into the Biergarten and makes her feel like a woman ready for whatever he's willing to give her.Simon English is in Texas visiting clients. He's fascinated by the woman posing as a serving wench. She eschews his advances, yet fate gives him a second chance. The chemistry between them is undeniable.When his fashion designer mother asks who's caught her son's attention, a hastily snapped photograph becomes the object that could change both his and Callie's lives.

Dolen Perkins-Valdez’s enchanting and unforgettable novel, based on little-known fact, combines the narrative allure of Cane River by Lalita Tademy and the moral complexities of Edward P. Jones’s The Known World as it tells the story of four black enslaved women in the years preceding the Civil War. wench \'wench\ n. from Middle English “wenchel,”1 a: a girl, maid, young woman; a female child. Situated in Ohio, a free territory before the Civil War, Tawawa House is an idyllic retreat for Southern white men who vacation there every summer with their enslaved black mistresses. It’s their open secret. Lizzie, Reenie, and Sweet are regulars at the resort, building strong friendships over the years. But when Mawu, as fearless as she is assured, comes along and starts talking of running away, things change. To run is to leave everything behind, and for some it also means escaping from the emotional and psychological bonds that bind them to their masters. When a fire on the resort sets off a string of tragedies, the women of Tawawa House soon learn that triumph and dehumanization are inseparable and that love exists even in the most inhuman, brutal of circumstances—all while they bear witness to the end of an era. An engaging, page-turning, and wholly original novel, Wench explores, with an unflinching eye, the moral complexities of slavery. “Readers entranced by The Help will be equally riveted by Wench. A deeply moving, beautifully written novel told from the heart.”—USA Today

A funny, fiercely feminist YA epic fantasy—following the adventures of a tavern wench Tanya has worked at her tavern since she was able to see over the bar. She broke up her first fight at 11. By the time she was a teenager she knew everything about the place, and she could run it with her eyes closed. She’d never let anyone—whether it be a drunkard or a captain of the queen’s guard—take advantage of her. But when her guardian dies, she might lose it all: the bar, her home, her purpose in life. So she heads out on a quest to petition the queen to keep the tavern in her name—dodging unscrupulous guards, a band of thieves, and a powerful, enchanted feather that seems drawn to her. Fast-paced, magical, and unapologetically feminist, Wench is epic fantasy like you’ve never seen it before.

All's faire in love and war for two sworn enemies who indulge in a harmless flirtation in a laugh-out-loud rom-com from debut author Jen DeLuca. Emily knew there would be strings attached when she relocated to the small town of Willow Creek, Maryland, for the summer to help her sister recover from an accident, but who could anticipate getting roped into volunteering for the local Renaissance Faire alongside her teenaged niece? Or that the irritating and inscrutable schoolteacher in charge of the volunteers would be so annoying that she finds it impossible to stop thinking about him? The faire is Simon's family legacy and from the start he makes clear he doesn't have time for Emily's lighthearted approach to life, her oddball Shakespeare conspiracy theories, or her endless suggestions for new acts to shake things up. Yet on the faire grounds he becomes a different person, flirting freely with Emily when she's in her revealing wench's costume. But is this attraction real, or just part of the characters they're portraying? This summer was only ever supposed to be a pit stop on the way to somewhere else for Emily, but soon she can't seem to shake the fantasy of establishing something more with Simon or a permanent home of her own in Willow Creek.

This pioneering collection of non-Shakespearean Renaissance drama has now been updated to include more early material, plus Mary Sidney’s The Tragedy of Antony, John Marston’s The Malcontent and Ben Jonson’s Masque of Queens. Second edition of this pioneering collection of works of non-Shakespearean Renaissance drama. Covers the full sweep of dramatic performances, including State progresses and Court masques. Contains material useful for courses on women playwrights or women in Renaissance drama, including Middleton’s Chaste Maid in Cheapside, Webster’s The Duchess of Malfi and Thomas Middleton and William Rowley’s The Changeling. Includes plays and pageants not anthologised elsewhere, such as the coronation entries of Elizabeth I and Queen Anne, and Thomas Heywood’s ‘A Woman Killed with Kindness’. For the second edition more early material has been added, such as Noah and The Second Shepherd’s Play. The anthology now also includes Mary Sidney’s The Tragedy of Antony, John Marston’s The Malcontent and Ben Jonson’s The Masque of Queens.

A laugh-out-loud romantic comedy featuring kilted musicians, Renaissance Faire tavern wenches, and an unlikely love story. LibraryReads Pick Stacey is jolted when her friends Simon and Emily get engaged. She knew she was putting her life on hold when she stayed in Willow Creek to care for her sick mother, but it's been years now, and even though Stacey loves spending her summers pouring drinks and flirting with patrons at the local Renaissance Faire, she wants more out of life. Stacey vows to have her life figured out by the time her friends get hitched at Faire next summer. Maybe she'll even find The One. When Stacey imagined "The One," it never occurred to her that her summertime Faire fling, Dex MacLean, might fit the bill. While Dex is easy on the eyes onstage with his band The Dueling Kilts, Stacey has never felt an emotional connection with him. So when she receives a tender email from the typically monosyllabic hunk, she's not sure what to make of it. Faire returns to Willow Creek, and Stacey comes face-to-face with the man with whom she’s exchanged hundreds of online messages over the past nine months. To Stacey's shock, it isn't Dex—she's been falling in love with a man she barely knows.

This book provides a comprehensive introduction to Elizabethan, Jacobean and Caroline comedy, covering both public and private theatres, emphasizing the eclectic, experimental nature of this comedy--its departures from the mainstream New Comedy tradition and its searching, witty analysis of social and personal relations in court, city and country. In his close analysis of some of the richest comedies of the period, Alexander Leggatt makes some unexpected connections between them. The reader is given a comprehensive picture of English comedy in one of its most creative periods.

After breaking up with her boyfriend, seventeen-year-old Rowena takes an out-of-town summer job at a Renaissance fair, but romantic entanglements soon follow.

When you attend a Renaissance Faire, you participate in a unique experience. This is an apportionment of Queen Elizabeth's Golden Age that is revived and presented to you daily for an immersive enjoyment. A one of a kind art form consisting of scripted scenes and histrionic performances on stage as well as interactive opportunities amongst the streets throughout the "Faire". For more than fifty years, thousands of actors have studied the Elizabethan tongue as a second language, refine their skills with techniques of improvisational performances, dances, songs and period wardrobe to become a reincarnated resident of an Elizabethan Shire.The opportunity of participation with folk liturgy at a "Faire" will help to foment in us the memories of simpler times more in harmony with nature and the world. I am appreciative that you desire to join us in this twenty first century Renaissance Language learning experience.

The Renaissance Faire—a 50 year-long party, communal ritual, political challenge and cultural wellspring—receives its first sustained historical attention with Well Met. Beginning with the chaotic communal moment of its founding and early development in the 1960s through its incorporation as a major “family friendly” leisure site in the 2000s, Well Met tells the story of the thinkers, artists, clowns, mimes, and others performers who make the Faire. Well Met approaches the Faire from the perspective of labor, education, aesthetics, business, the opposition it faced, and the key figures involved. Drawing upon vibrant interview material and deep archival research, Rachel Lee Rubin reveals the way the faires established themselves as a pioneering and highly visible counter cultural referendum on how we live now—our family and sexual arrangements, our relationship to consumer goods, and our corporate entertainments. In order to understand the meaning of the faire to its devoted participants,both workers and visitors, Rubin has compiled a dazzling array of testimony, from extensive conversations with Faire founder Phyllis Patterson to interviews regarding the contemporary scene with performers, crafters, booth workers and “playtrons.” Well Met pays equal attention what came out of the faire—the transforming gifts bestowed by the faire’s innovations and experiments upon the broader American culture: the underground press of the 1960s and 1970s, experimentation with “ethnic” musical instruments and styles in popular music, the craft revival, and various forms of immersive theater are all connected back to their roots in the faire. Original, intrepid, and richly illustrated, Well Met puts the Renaissance Faire back at the historical center of the American counterculture.