Welcome back to Barleybridge, the picture-postcard English village where everybody knows their neighbors . . . Kate Howard is still working as the receptionist at the Barleybridge Veterinary Hospital, but now she is determined to attend veterinary college. Things are running smoothly, both at work and in Kate’s life, especially now that Scott Spencer, the handsome Australian vet who stole Kate’s heart, has left town. But Scott’s replacement, Daniel Brown, is quickly making enemies of the staff and clients alike with his abrupt style and unreasonable demands. When Dan causes the loss of an important client, the wives connected to the practice determine that something must be done to stop him. For her part, Kate secretly appreciates Dan’s no-nonsense approach, despite everyone else’s ongoing annoyance. When Kate is faced with a devastating tragedy, Dan reveals a sad secret of his own and helps her through her crisis. But what will the rest of the town think of their newfound friendship? Delightfully warm, engaging, and filled with the simple joys of small-town English life, Country Wives will inspire readers to return to Barleybridge again and again.

'He's a fool that marries, but he's a greater fool that does not marry a fool.' This bawdy, hilarious, subversive and wickedly satirical drama pokes fun at the humourless, the jealous, and the adulterous alike. It features a country wife, Margery, whose husband believes she is too naïve to cuckold him; and an anti-hero, Horner, who pretends to be impotent in order to have unrestrained access to the women keen on 'the sport'. A number of licentious and hypocritical women request Horner's services – the country wife among them. The Country Wife has provoked powerfully mixed reactions over the years. The seventeenth century libertine king Charles II saw it twice, and is said to have joined the 'dance of the cuckolds' at the end of one performance; the eighteenth century actor-playwright David Garrick declared it 'the most licentious play in the English language'; the Victorian Macaulay compared it to a skunk, because it was 'too filthy to handle and too noisome even to approach'. Twentieth century productions heralded it a Restoration masterpiece. Sexually frank, and as ready to criticise marriage as infidelity, the virtuosity, linguistic energy, brilliant wit, naughtiness and complexity of this ribald play have made it a staple of the modern stage. This student edition contains a lengthy, entirely new introduction, by leading scholar, Tiffany Stern, with a background on the author, structure, characters, genre, themes, original staging and performance history, as well as an updated bibliography and a fully annotated version of the playtext.

British Columbia inherited a legal system that granted married men control over most family property and imposed few obligations on them toward their wives and children. Yet from the 1860s onward, lawmakers throughout the Anglo-American world, including legislators on the Pacific Coast, began to grant women and children new rights. Domestic Reforms deftly analyzes the impact of the legislation, with emphasis on the ambitions of regulated populations, the influence of the judiciary, and the social and fiscal concerns of generations of legislators and bureaucrats.

NEW YORK TIMES BESTSELLER • In this refreshing and inspiring memoir, Lauren Akins, the wife of country music star Thomas Rhett, shows what it’s really like to be “the perfect couple” fans imagine, and reveals what it actually takes to live in love, stay in love, and grow together. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY PARADE When country music star Thomas Rhett won the ACM Award for Single of the Year with “Die a Happy Man,” his wife, Lauren Akins, was overjoyed. Her childhood best friend and now husband was being anointed the hottest new star in country music—for a song he had written about her. He was living his dream. Lauren was elated, but she was also wrestling with some big questions, not the least of which was, How can I live my own life of purpose? Lauren Akins never wanted to be in the spotlight, but as Thomas Rhett made his relationship with Lauren the subject of many of his hit songs, she was tossed into the role of one of America’s sweethearts. Revered by fans for her down-to-earth ease and charm, her commitment to humanitarian work, and the pure love she exudes for her family, Lauren has never shared her side of their story—full as it’s been with deep love, painful loss, tremendous joy, and a struggle to stay grounded in faith along the way—until now. In Live in Love, Lauren shares details about her childhood friendship with Thomas Rhett, explaining how they reconnected as young adults. She offers a rare behind-the-scenes look at the challenges of being married to her best friend, who just happens to be a music star, and the struggle to find her own footing in the frenzy of her husband’s fame. And in heart-wrenching detail, she opens up about her life-changing experiences doing mission work in Haiti, and then in Uganda, where she met the precious baby who would become their first daughter. From sharing the romance of their handwritten wedding vows to the challenges they faced as they adjusted to the reality of becoming first-time parents, Live in Love takes an intimate look at one couple’s life—and opens a window into all of our journeys on the path to self-discovery. Live in Love is a deeply personal memoir that offers inspiring guidance for anyone looking to keep romance alive, balance children and marriage, express true faith, and live a life of purpose.

The wife of George Jones, with help from a top journalist, presents a revealing, intimate, and compelling look inside the lives and marriages of country music wives of Vince Gill, Garth Brooks, Alan Jackson, Billy Ray Cyrus, Johnny Cash, Clint Black, Randy Travis, and others. of photos.

In country music, the men might dominate the radio waves. But it’s women—like Maren Morris, Mickey Guyton, and Kacey Musgraves—who are making history. This is the full and unbridled story of the past twenty years of country music seen through the lens of these trailblazers’ careers—their paths to stardom and their battles against a deeply embedded boys’ club, as well as their efforts to transform the genre into a more inclusive place—as told by award-winning Nashville journalist Marissa R. Moss. For the women of country music, 1999 was an entirely different universe—a brief blip in time, when women like Shania Twain and the Chicks topped every chart and made country music a woman’s world. But the industry, which prefers its stars to be neutral, be obedient, and never rock the boat, had other plans. It wanted its women to “shut up and sing”—or else. In 2021, women are played on country radio as little as 10 percent of the time, but they’re still selling out arenas, as Kacey Musgraves does, and becoming infinitely bigger live draws than most of their male counterparts, creating massive pop crossover hits like Maren Morris’s “The Middle,” pushing the industry to confront its racial biases with Mickey Guyton’s “Black Like Me,” and winning heaps of Grammy nominations. Her Country is the story of how in the past two decades, country’s women fought back against systems designed to keep them down and created entirely new pathways to success. It’s the behind-the-scenes story of how women like Kacey, Mickey, Maren, Miranda Lambert, Rissi Palmer, Brandi Carlile, and many more have reinvented their place in an industry stacked against them. When the rules stopped working for these women, they threw them out, made their own, and took control—changing the genre forever, and for the better.

There was immense social and economic upheaval between the Black Death and the English Reformation, and contemporary writers often blamed this upheaval on immorality, singling out women's behavior for particular censure. Late medieval moral treatises and sermons increasingly connected good behavior for women with Christianity, and their failure to conform to sin. Katherine L. French argues, however, that medieval laywomen both coped with the chaotic changes following the plague and justified their own changing behavior by participating in local religion. Through active engagement in the parish church, the basic unit of public worship, women promoted and validated their own interests and responsibilities. Scholarship on medieval women's religious experiences has focused primarily on elite women, nuns, and mystics who either were literate enough to leave written records of their religious ideas and behavior or had access to literate men who did this for them. Most women, however, were not literate, were not members of religious orders, and did not have private confessors. As The Good Women of the Parish shows, the great majority of women practiced their religion in a parish church. By looking at women's contributions to parish maintenance, the ways they shaped the liturgy and church seating arrangements, and their increasing opportunities for collective action in all-women's groups, the book argues that gendered behavior was central to parish life and that women's parish activities gave them increasing visibility and even, on occasion, authority. In the face of demands for silence, modesty, and passivity, women of every social status used religious practices as an important source of self-expression, creativity, and agency.

Alice Beck Kehoe offers introductory students a method of evaluating and assessing claims about the past in this reader-friendly, concise text, using examples from Native American origins to ancient astronauts.