The Mercer’s House
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|Author||: Antonia Frost|
'There's something terrible hiding in the Mercer's House, and I don't know what to do...' On the windswept Northumberland coast stands the Mercer's House, thought to be haunted by the ghost of a woman who in earlier times died a violent and tragic death at the hands of her husband. Now it holds the key to the mystery of Helen Devereux, who disappeared with her young son twenty-five years ago and was never seen again. In the intervening years the Devereux family have done their best to come to terms with their loss, but their fragile peace is shattered when Zanna Chambers arrives at the Mercer's House in search of her Aunt Helen, after a promise made to her father. Zanna is recovering from a battle with her own demons, but her search brings them back more terrifyingly than ever when she starts to receive mysterious communications, seemingly from Helen herself. But are the messages real or imagined? Confused as to her own sanity, and unexpectedly attracted to the Devereux brother who was left behind, Zanna must decide whether to flee back to the safety of her old life, or continue the search for Helen and strike out into the frightening unknown.
|Author||: John Berendt|
Shots rang out in Savannah's grandest mansion in the misty,early morning hours of May 2, 1981. Was it murder or self-defense? For nearly a decade, the shooting and its aftermath reverberated throughout this hauntingly beautiful city of moss-hung oaks and shaded squares. John Berendt's sharply observed, suspenseful, and witty narrative reads like a thoroughly engrossing novel, and yet it is a work of nonfiction. Berendt skillfully interweaves a hugely entertaining first-person account of life in this isolated remnant of the Old South with the unpredictable twists and turns of a landmark murder case. It is a spellbinding story peopled by a gallery of remarkable characters: the well-bred society ladies of the Married Woman's Card Club; the turbulent young redneck gigolo; the hapless recluse who owns a bottle of poison so powerful it could kill every man, woman, and child in Savannah; the aging and profane Southern belle who is the "soul of pampered self-absorption"; the uproariously funny black drag queen; the acerbic and arrogant antiques dealer; the sweet-talking, piano-playing con artist; young blacks dancing the minuet at the black debutante ball; and Minerva, the voodoo priestess who works her magic in the graveyard at midnight. These and other Savannahians act as a Greek chorus, with Berendt revealing the alliances, hostilities, and intrigues that thrive in a town where everyone knows everyone else. Midnight in the Garden of Good and Evil is a sublime and seductive reading experience. Brilliantly conceived and masterfully written, this enormously engaging portrait of a most beguiling Southern city has become a modern classic.
The History of the Mercer s Charitable Hospital in Dublin to the End of the Year 1742 With Notes and an Appendix Pt 1
|Author||: Horatio TOWNSEND (Barrister-at-Law)|
|Author||: Rebekah Mercer|
|Editor||: Encounter Books|
On October 11, 2018, Encounter Books celebrated its twentieth anniversary at an evening gala honoring Rebekah Mercer and Sir Roger Scruton at the Andrew Mellon Auditorium in Washington, D.C. Rebekah Mercer, who was introduced by the historian Victor Davis Hanson, was the recipient of the inaugural Encounter Prize for Advancing American Ideals, which honors an individual who fosters the intellectual and moral resources that nurture ordered liberty and the pursuit of truth in American cultural and political life. What follows is adapted from the remarks delivered that night.
|Author||: Lisa Jefferson|
As the premier livery company, the Mercers Company in medieval England enjoyed a prominent role in London's governance and exercised much influence over England's overseas trade and political interests. This substantial two-volume set provides a comprehensive edition of the surviving Mercers' accounts from 1347 to 1464, and opens a unique window into the day-to-day workings of one of England's most powerful institutions at the height of its influence. The accounts list income, derived from fees for apprentices and entry fees, from fines (whose cause is usually given, sometimes with many details), from gifts and bequests, from property rents, and from other sources, and then list expenditures: on salaries to priests and chaplains, to the beadle, the rent-collector, and to scribes and scriveners; on alms payments; on quit-rents due on their properties; on repairs to properties; and on a whole host of other costs, differing from year to year, and including court cases, special furnishings for the chapel or Hall, negotiations over trade with Burgundy, transport costs, funeral costs or those for attendance at state occasions, etc. Included also in some years are ordinances, deeds and other material of which they wanted to ensure a record was kept. Beginning with an early account for 1347-48, and the company's ordinances of that year, the accounts preserved form an entire block from 1390 until 1464. The material is arranged in facing-page format, with an accurate edition of the original text mirrored by a translation into modern English. A substantial introduction describes the manuscripts in full detail and explains the accounting system used by the Mercers and the financial vocabulary associated with it. Exhaustive name and subject indexes ensure that the material is easily accessible and this edition will become an essential tool for all studying the social, cultural or economic developments of late-medieval England.
|Editor||: University of Wales Press|
This collection of twelve essays describes aspects of town life in medieval Wales, from the way people lived and worked to how they spent their leisure time. Drawing on evidence from historical records, archaeology and literature, twelve leading scholars outline the diversity of town life and urban identity in medieval Wales. While urban histories of Wales have charted the economic growth of towns in post-Norman Wales, much less has been written about the nature of urban culture in Wales. This book fills in some of the gaps about how people lived in towns and the kinds of cultural experience which helped to construct a Welsh urban identity.
|Author||: Glenn T. Eskew|
|Editor||: University of Georgia Press|
John Herndon “Johnny” Mercer (1909–76) remained in the forefront of American popular music from the 1930s through the 1960s, writing over a thousand songs, collaborating with all the great popular composers and jazz musicians of his day, working in Hollywood and on Broadway, and as cofounder of Capitol Records, helping to promote the careers of Nat “King” Cole, Margaret Whiting, Peggy Lee, and many other singers. Mercer’s songs—sung by Bing Crosby, Billie Holiday, Judy Garland, Frank Sinatra, Ella Fitzgerald, Tony Bennett, Lena Horne, and scores of other performers—are canonical parts of the great American songbook. Four of his songs received Academy Awards: “Moon River,” “Days of Wine and Roses,” “On the Atchison, Topeka, and the Santa Fe,” and “In the Cool, Cool, Cool of the Evening.” Mercer standards such as “Hooray for Hollywood” and “You Must Have Been a Beautiful Baby” remain in the popular imagination. Exhaustively researched, Glenn T. Eskew’s biography improves upon earlier popular treatments of the Savannah, Georgia–born songwriter to produce a sophisticated, insightful, evenhanded examination of one of America’s most popular and successful chart-toppers. Johnny Mercer: Southern Songwriter for the World provides a compelling chronological narrative that places Mercer within a larger framework of diaspora entertainers who spread a southern multiracial culture across the nation and around the world. Eskew contends that Mercer and much of his music remained rooted in his native South, being deeply influenced by the folk music of coastal Georgia and the blues and jazz recordings made by black and white musicians. At Capitol Records, Mercer helped redirect American popular music by commodifying these formerly distinctive regional sounds into popular music. When rock ’n’ roll diminished opportunities at home, Mercer looked abroad, collaborating with international composers to create transnational songs. At heart, Eskew says, Mercer was a jazz musician rather than a Tin Pan Alley lyricist, and the interpenetration of jazz and popular song that he created expressed elements of his southern heritage that made his work distinctive and consistently kept his music before an approving audience.
|Author||: Commerce Clearing House|
A full-text reporter of decisions rendered by federal and state courts throughout the United States on federal and state labor problems, with case table and topical index.
|Author||: Linda Young|
|Editor||: Rowman & Littlefield|
Historic House Museums in the United States and the United Kingdom: A History addresses the phenomenon of historic houses as a distinct species of museum. Everyone understands the special nature of an art museum, a national museum, or a science museum, but “house museum” nearly always requires clarification. In the United States the term is almost synonymous with historic preservation; in the United Kingdom, it is simply unfamiliar, the very idea being conflated with stately homes and the National Trust. By analyzing the motivation of the founders, and subsequent keepers, of house museums, Linda Young identifies a typology that casts light on what house museums were intended to represent and their significance (or lack thereof) today. This book examines: • heroes’ houses: once inhabited by great persons (e.g., Shakespeare’s birthplace, Washington’s Mount Vernon); • artwork houses: national identity as specially visible in house design, style, and technique (e.g., Frank Lloyd Wright houses, Modernist houses); • collectors’ houses: a microcosm of collecting in situ domesticu, subsequently presented to the nation as the exemplars of taste (e.g., Sir John Soane’s Museum, Isabella Stewart Gardner Museum); • English country houses: the palaces of the aristocracy, maintained thanks to primogeniture but threatened with redundancy and rescued as museums to be touted as the peak of English national culture; English country houses: the palaces of the aristocracy, maintained for centuries thanks to primogeniture but threatened by redundancy and strangely rescued as museums, now touted as the peak of English national culture; • Everyman/woman’s social history houses: the modern, demotic response to elite houses, presented as social history but tinged with generic ancestor veneration (e.g., tenement house museums in Glasgow and New York).
|Author||: Kathleen Olson|
|Editor||: Christian Faith Publishing, Inc.|
Polly was used to people coming and going at her house at all times of the night because her family ran an Underground Railroad station. Strangely, tonight there was more noise than usual, and Mother said noise was the enemy. That night in June 1857, Mother called urgently for Polly to get down to the secret room and bring water with her. When Polly was able to get the heavy sloshing bucket down the narrow stairs, she saw Mother kneeling by a young girl who was about Polly's age. Her name was Hattie, and her forehead was beaded with sweat, and she was shaking uncontrollably. Polly knew they would be friends with all the dangers and adventures that go with running the Underground Railroad.
|Author||: Frank D. Watney,Laetitia Lyell|
|Editor||: Cambridge University Press|
An edition of the oldest extant manuscript in the series of records entitled Acts of Court of the Mercers' Company.
|Author||: Lady Mary Adelaide JENNINGS|