By Rochelle Alers
A global of wish, seduction and scandal…
Adina's good looks and wiles have enabled her to undertake the fast moving way of life of the wealthy and fabulous…until she learns there's a freelance out on her existence. She flees Brooklyn to begin over in an upscale suburb, dwelling one of the pampered and polished ladies she's continuously envied. yet past the mansions and manicured lawns lies a global she by no means might have notion possible….
Sybil's particular catering enterprise disguises her profitable sideline enterprise: she's Delectable, a dominatrix who entertains at bachelor events. Karla lives on a multimillion-dollar property, and he or she and her husband get pleasure from an open marriage…but her want for male awareness is commencing to get dangerously out of control.
And as Adina is drawn into the scorching fact past her friends' ideal facades, she's additionally facing a brand new guy, who's blissfully ignorant of her not-so-innocent prior. Now, every one lady is ready to find that each ardour has a price…and that a few secrets and techniques are easily most unlikely to maintain hidden.
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Additional info for After Hours
I . . gave them more gospel truth than perhaps some of them have heard for some time” (Still, 1872, pp. 772, 775). Carson (1995), in a compelling essay “The Gender of Sound,” surveys the many ways in which our presumptions about gender affect the way we hear the human voice. She observes that “[e]very sound we make is a bit of autobiography. It has a totally private interior yet its trajectory is public. A piece of inside projected to the outside” (p. 130). She writes of those who control censorship of these projections, but of particular relevance here is the notion of sound as autobiography.
We have here then the influence of race, gender, and oratorical conventions on the way audiences responded to Harper, but we also have the agency of Frances Harper to take into account. As we reconsider Harper, other Black women rhetors, and by extension all women speakers generally—and I think it is important to be specific without being exclusive—we need to consider them as agents in their own performances, agents who were engaging a range of rhetorical practices to reach their audiences. Conclusions I am aware that these quoted reactions to Harper, Douglass, Truth, and other nineteenth-century speakers have all been critiqued out of their contexts, contexts that would be difficult if not impossible to reconstruct with accuracy.
Thus, after hearing Douglass at Finsbury Chapel, the audience wanted to purchase his freedom. As the Reverend Campbell proclaimed, “He that was covered with chains, and that is now being covered with glory, and whom we will send back a gentleman” (Douglass, 1855/1969, p. 420). The Reverend Campbell echoed here Phoebe Hanaford’s sentiment that Harper was “one of the colored women of whom White women may be proud,” quoted above. These delivery-focused remarks were not entirely atypical. Such attributions as “with gestures few and fitting” bring to mind Edwin Black’s essay on the aesthetics of rhetoric.