Xelena Xutu's family are moon people who fled Ganymede when she was young. From a young age, her dream was to design spaceships. As she grows up in the palace of Galactic X, the planetary superpower Ganymede orbits, her traditionalist mother tries to teach her Ganymedeni cultural values. While the king of Galactic X is fond of Xelena and her family, the other royals see moon people as lesser beings that threaten the planet's security. When Xelena is thirteen years old, she is kidnapped by Ganymede's ruler and subjected to a ritual that fuses her soul with the spirit of an ancient Ganymedeni overlord known only to her as the Voice. After this tragic incident and increased hatred from Galactic X's royals, Xelena's father smuggles the family to Divercity, a rival planetary superpower known for its advanced technology and acceptance of different races, so that she may live out her dreams. Eight years later, Xelena has abandoned her dream of shipbuilding in order to provide for her aging, sickly mother while living up to her cultural expectations in Divercity's fast-paced climate. She attracts the lustful eye of Romeo Caesarean, a powerful member of Divercity's elites whose advances drag her into Divercity's political sphere. As Xelena navigates Divercity's social classes in search of medical treatment for her mother, she discovers that Divercity isn't as welcoming as it seems. A moon girl from Ganymede struggles to succeed in Divercity. Making matters worse, the Voice has manifested as a split personality disorder within Xelena, causing a mental tug-of-war on who she is. Now Xelena must decide how far she is willing to push the limits of her own identity, culture, and dreams to save her mother's life.

She had come to life, but she was not human. Leigh Brackett was the undisputed Queen of Space Opera and the first women to be nominated for the coveted Hugo Award. She wrote short stories, novels, and scripts for Hollywood. She wrote the first draft of the Empire Strikes Back shortly before her death in 1978.

Deanne Williams offers the very first study of the medieval and early modern girl actor. Whereas previous histories of the actress begin with the Restoration, this book demonstrates that the girl is actually a well-documented category of performer and a key participant in the drama of the Middle Ages and Renaissance. It explores evidence of the girl actor in archival records of payment, eyewitness accounts, stage directions, paintings, and in the plays and masques that were explicitly composed for girls, and, in some cases, by them. Contradicting previous scholarly assumptions about the early modern stage as male-dominated, this evidence reveals girls' participation in medieval religious drama, Tudor civic pageants and royal entries, Elizabethan country house entertainments, and Stuart court and household masques. This book situates its historical study of the girl actor within the wider contexts of 'girl culture', including girls as singers, translators and authors. By examining the impact of the girl actor on constructions of girlhood in the work of Shakespeare – whose girl characters register and evoke the power of the performing girl – Girl Culture in the Middle Ages and Renaissance argues that girls' dramatic, musical and literary performances actively shaped medieval and early modern culture. It shows how the active presence and participation of girls shaped medieval and Renaissance culture, and it reveals how some of its best-known literary and dramatic texts address, represent, and reflect upon girl children, not as an imagined ideal, but as a lived reality.

Ward was in a New York banking family, brother of Julia Ward Howe, married into the Astor family, was in the Gold Rush, involved in the social life of New York and London, and was an epicure. He was also a very powerful lobbying influence on Congress and an author. His family connections and friends were prominent in many fields.

Earth has been invaded - but one human terrorist has discovered a weapon which might change the course of the war! Earth has been taken over by the Ganymedians, a race of telepathic worm-like aliens whose instinct for survival has overridden any human attempt to resist their rule. But there is one man who may have discovered a way to defeat them. Dr Balkani has created a machine which distorts reality, and therefore will allow a determined human to avoid the Ganymedians' telepathic oversight. But there is one problem - Balkani is a worm-kisser, a servant of the invaders, and may not allow his invention to be used against them...

As a radical Christian Lebanese sect secretly plans an act of terrorism, Colin Gordon begins his next assignment at the American Embassy in Germany. Masquerading as a Foreign Service reserve officer, Gordon is in fact a senior CIA case officer with a specialty in obtaining unauthorized views of foreign governments. But when he receives a postcard from his operational contact Ganymede, everything around him begins to change. As the militia launches a series of attacks against United States interests that reach far beyond the mayhem of war-torn Lebanon, Gordons dangerous journey to the truth leads him through the streets of Beirut and Athens, to a terrorist training camp in North Africa, and finally to New York and Washington, where the Secretary of State faces a perilous fight for his life. In this fast-paced tale of international intrigue, tensions between truth and spin rise as a spy with unmatched instincts is immersed in a dangerous and bold strategy to lure the United States into a conflict like no other.

GANYMEDES CUP reveals a palimpsest that exposes the inextricable relationship between human beings and the ties that bind them to a world where the lines that separate good and evil are not only porous but also entwined. Stephen Lawrence, an intern with a prestigious NewYork firm, finds that he is a twenty-fifirst century Ganymede and cup-bearer to the gods of commodity culture, gender identity, and stem cell research. The Twin Towers loom large in the background as Stephen tries to maintain his ethical standards in the midst of a chaotic, consumer-driven world that grasps the innocent and ascends with them to the twenty-first century Mount Olympus of cultural consumerism.

This collection revises subjectivity in the light of postmodern theories of the subject. The contributors gathered here present and discuss a number of different, but interrelated, subjectivities. As such, they reconceptualize the theory of subjectivity according to various texts and contexts, such as the subjectivity of discourses, the subject under subjugation, and the intersubjective construction of the other. It introduces a dynamic subjectivity to minority literature, colonial/postcolonial texts, and travel literature, to name but a few. The dynamics of intersubjectivity provide a space for subjectivities to negotiate and interrelate. Moreover, this collection shows that intersubjectivity is hybrid, yet flexible, by nature.

DigiCat Publishing presents to you this special edition of "The Headmistress" by Angela Margaret Thirkell. 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.