Lucy Briar has arrived home in turmoil after years overseas. Hoping to ground herself and find answers, Lucy settles into once familiar routines. But old tortured feelings flood Lucy's existence when her beloved father, Ron, is hospitalised and Morgan - the man who drove her away all those years ago - seeks her out. Worse, Ron implores Lucy to visit Bitterwood Estate, the crumbling historic family guesthouse now left to him.
By: Anna Romer. It shows Vivi leaving an address associated with a spy network in London - a place she had no reason to be - and it is dated right before she disappeared.
By: Suzanne Kelman. For years, the abandoned MacKenzie mansion remained hidden in rural Wisconsin. Rumors and stories of apparitions, odd noises, accidents, and strange deaths in or near the property were enough to convince the townsfolk it was haunted, and they stayed away.
Lucas MacKenzie and his brother, Nate, know nothing of this when they inherit the property and decide to bring their families to Wisconsin for a major renovation project with HGTV stardom in mind.
As they tear out old fixtures and open shuttered windows, the house begins to reveal secrets of a terrible past. By: Cailyn Lloyd. In her grand home in Charleston, Willa Bellemore raised two girls during the tumultuous s. One was her daughter, Lady. Willa showered Nell with love and support, all the while ignoring the disdainful whispers of her neighbors. After all, they were family.
Nell and Lady were sisters at heart - sisters who vowed to never let anything come between them. By: Ashley Farley. Jillian Kane appears to have it all - a successful career, a gorgeous home, a loving husband, and two wonderful children. The reality behind closed doors is something else entirely. For nine years, she has hid the bruises and the truth of her abusive marriage in order to protect Addie and Drew, knowing that if she left, Gordon would destroy her and destroy them.
When she flees in an act of desperation, her worst nightmare is realized and she finds herself on the run with her two young children, no money, and no plan. With Gordon in hot pursuit, there is only one inescapable certainty: No matter where she goes, he will find her. Kill her. And take her children. A riveting page-turner, Hush Little Baby exposes the shame and terror of domestic violence as well as the disturbing role manipulation and sabotage can play in the high-stakes game of child custody.
Suspenseful and unforgettably moving, it's a novel about the unbreakable bonds of family and the astounding, terrifying devotion of a mother's love. Redfearn's debut ratchets up the tension page by page, as husband and wife try to inflict the most damage on each other without harming the kids. Every character hides something, and each surprising revelation torques the plot further.
The emotional and physical injuries mount, driving inexorably toward a surprising climax. This is top-notch storytelling! With clear, efficient dialogue and authentic scenes, this story rings universal. Equal parts suspenseful and moving, Redfearn's skillfully told, candid story flows easily within a well-defined plot, making this novel a stunning and captivating read.
I ended up listening to this book in one day. I just had to know what was going to happen next. I highly recommend this to those that like psychological or domestic thrillers. The characters were really developed which made the story terrifying. Although I hated Gill, the main character, for most of this story, I was surprised by almost every twist and couldn't wait to listen every chance I had.
The title almost made me skip this one and I'm so glad I gave it a chance. I'm not yet finished with the story but felt compelled to review without knowing how it ends. Give it a chance, you might be surprised EDIT: I've just finished I don't know why the hell the author chose such a stupid title.
Between the cover and title, I almost passed The story flowed great and had lots of interesting parts. They were a big part of the book and then they were just forgotten.
While I enjoyed the story the title is quite confusing as well as the cover. The story is good and the narrator did an amazing job bringing it to life. I can't finish. I loved it! It kept my interest from start to finish. I read it within a day! I purchased this book based on my liking of another book, same author. Storyline picked up in the later chapters and ended decently. I would not buy the book again.
I have certain authors I follow. You know, the big names. We know almost nothing about what it did before about , but since it has left all sorts of tracks. Let's try to understand what made that song surface from the huge pool of songs to take a similar form inside the heads of large numbers of people. For such a simple little song, it raises all sorts of interesting issues and questions.
Especially in the first half of the 20th century, chasing the relatively new idea of the "archaic survival" of songs from the past in the memories of illiterate and rural people, dozens of academic and self-appointed folksong collectors excitedly rounded up a large number of American and British Isles folk songs using whatever tools they could.
Thomas Edison developed his "phonograph" machine, that only weighed about 30 pounds, using blank wax cylinders that could capture close to 4 minutes of sound via the ear-trumpet horn that could be used for playback or recording. It became a new sport to travel around rural areas with one, befriend the local people and try to capture some important or exciting music. The results of their efforts are still important and relevant, especially because what they recorded were genuine things that real people actually did.
More haphazardly than systematically, working either independently or with a library or university, these "songcatchers" collected, labeled, transcribed and archived the songs they found into a number of private and public collections. They also put some of the songs into books and curated record albums, often editing, consolidating and modifying them as they saw fit.
Though the goal was to locate, document, archive and share what they found, a sizable chunk of this orally-transmitted folklore that was supposedly being celebrated for its ability to spread around among the people, was instead deliberately moved into quite different information streams. This had the effect of disturbing and profoundly altering the actual transmittal processes, and instead of being passed on from a neighbor or family member, these songs took a very different route into all the people who subsequently learned them.
In an effort that spanned roughly two generations, for the most part ending with my own, dozens and possibly hundreds of artificially-inseminated folk songs, collected from scattered individuals, were put into the bloodstream of American folk music in a type of Jurassic Park experiment. Led by John and Alan Lomax, and involving Charles Seeger, Robert Gordon and a band of enthusiasts centered in and around the Archive of Folksong at the Library of Congress, they organized an effort to inject hand-picked "folk songs" into public consciousness, and also into elementary music curriculums across the country.
These songs were deemed superior to the European ones that had long been used in music education, which was probably true. The children liked them better and learned them faster, and it seemed appropriate for more of the music they were learning in school to be American folk songs.
Though many were not commonplace or widely-known songs, they became just that for the children who absorbed them via this information pipeline. Folksingers, both professional and amateur, also began learning and performing many of these songs, and on the heels of the Folk Boom of the s, they blasted them all over the world by way of vast numbers of record albums, concerts, books and radio or television broadcasts.
Millions of Americans, including very young children, had dozens of these songs implanted in their memories, put there by music teachers, camp counselors, and "folk era" recordings. You or I could have used those to learn the songs if we had access to the recordings, but instead we got the songs by way of an intermediary step where they were repackaged into songbooks with piano notation, and sung with guitars or banjos by educated mostly-white, middle-class people, or delivered by school teachers reading arrangements at their pianos.
A few authentic rural performers, both black and white, managed to be heard in performance or on recordings doing more or less original versions, but the vast majority of the transmission of "folk songs" to the listeners came from 2nd or 3rd generation "sources.
Perhaps the assumption was that we all had the right to go to Washington, D. Carter for influential early recordings made by the Carter Family. More than fifty years ago, versions of these songs were permanently stuck into my head, as well as those of untold numbers of other people of a similar age who were also exposed to them.
Maybe because I am a musician I have a better memory for them than most, and thus more of a feeling that vital real estate in my mental hard drive was loaded with a bunch of questionable songs before I had any idea what was going on.
I sound a bit like an anti-vaxxer here, and I am honestly not sure whether or not it would have been better to just let the capitalist marketplace fill up everyone's heads with music when they are young, which it has certainly done extensively without anyone's permission or blessings. I don't get a sense that people born after about had nearly as many of these songs embedded into them, unless they had older siblings or parents that passed them on.
As school music education has shrunk and changed, that part of the pipeline has not been doing much in recent decades, and young children today no longer appear to be learning most of these same songs. Some are being re-written and turned into copyrightable material by publishers, though as far as I can tell, a handful of stalwarts remain in contemporary elementary school music instruction.
Because this is getting tangled, and many of you are busy, I'll tell you my conclusion now: Instead of the collectors hiding, copyrighting, manipulating and profiting from the songs in the archives, I wish that we the people could get free and easy access to the original collections ourselves, so we can decide what songs we like or which ones we want to learn. The idea that we have been spoon-fed these somewhat-doctored versions of folk songs is bad enough, but to never get to hear the field recordings is worse, and to have been given a rather phony folk heritage and a bunch of Dolly-the-sheep genetically-engineered songs is intolerable.
Let's look at a well-known example, in hopes you'll better understand why this is bugging me. It did not thrive or spread widely on its own, but because of specific actions of folklore collectors and professional folksingers, it is now known by millions and has become a part of their cultural inheritance. There is no sensation of there being a variety of ways to sing the melody, with only tiny differences among the words various people sing.
It is based on a demon who often features in Caribbean folklore, called the jumbie. A jumbie is the spirit of an evil person who has died. They are said to be a shapeshifter, moving between the form of a scary old witch soucouyant and a ball of fire. The jumbie will eat him The soucouyant will suck his blood. This lullaby is one of the most popular in Argentina and Colombia. It is sung to stop children from being afraid of the rain as the area has many thunderstorms.
The song links bad weather to witchcraft and magic. It is similar to many of its Spanish counterparts as traditional Spanish folk songs are often preoccupied with nature and the weather. Let it rain, let it rain, The witch is in the cave, The birds sing, The witch rises in the air. Oh yes, oh no, Let it pour down Under the bed With water and soap.
This is another lullaby with a warning. In this song, there is a reference to the god Oro of the Yoruba religion. The Oro referred to in the song, is a masquerade in his honour where the men disguise themselves as spirits while the women stay at home and hide.
Cover your eyes, Oh! The Oloro is coming, Oh! Go and hide, Oh! Should I open them? Open, open, open them! Whoever he finds will be killed, Oh!
In Latin culture, the mother is traditionally the parent who stays home with the child, therefore this song is traditionally only ever song by mothers or women caring for a young child. Sleep little one, Sleep my love, Or the Coco will come and take you, Away.
Sleep little one, Sleep my love, Or the coco will come and eat you up. Ensuring children in Russia and Belarus are unlikely to get out of bed during the night, this lullaby warns them they must stay in the middle of their bed or a wolf might come out from beneath it and grab them. Sleep sleep sleep. Originating on the Indonesian island of Java, it tells the story of a giant who carries away crying children.
It is mainly aimed at little girls as it warns them that they look ugly when they cry and asks them to make their families proud.
0コメント