'Simmonds is a copper-bottomed genius... she is as brilliant a writer as Britain has' Jenny Colgan, Mail Online Cassandra Darke is an art dealer, mean, selfish, solitary by nature, living in Chelsea in a house worth £7 million. She has become a social pariah, but doesn’t much care. Between one Christmas and the next, she has sullied the reputation of a West End gallery and has acquired a conviction for fraud, a suspended sentence and a bank balance drained by lawsuits. On the scale of villainy, fraud seems to Cassandra a rather paltry offence – her own crime involving ‘no violence, no weapon, no dead body’. But in Cassandra’s basement, her young ex-lodger, Nicki, has left a surprise, something which implies at least violence and probably a body . . . Something which forces Cassandra out of her rich enclave and onto the streets. Not those local streets paved with gold and lit with festive glitter, but grimmer, darker places, where she must make the choice between self-sacrifice and running for her life.
This book demonstrates that since the 1970s, British feminist cartoons and comics have played an important part in the Women’s Movement in Britain. A key component of this has been humour. This aspect of feminist history in Britain has not previously been documented. The book questions why and how British feminists have used humour in comics form to present serious political messages. It also interrogates what the implications have been for the development of feminist cartoons and for the popularisation of feminism in Britain. The work responds to recent North American feminist comics scholarship that concentrates on North American autobiographical comics of trauma by women. This book highlights the relevance of humour and provides a comparative British perspective. The time frame is 1970 to 2019, chosen as representative of a significant historical period for the development of feminist cartoon and comics activity and of feminist theory and practice. Research methods include archival data collection, complemented by interviews with selected cartoonists. Visual and textual analysis of specific examples draws on literature from humour theory, comics studies and feminist theory. Examples are also considered as responses to the economic, social and political contexts in which they were produced.
Johannes Werbel, Jr. (1738-1809) immigrated from Germany with his father, Johannes Sr. in 1740 and married Maria Salome (ca. 1740-1829) settling in Westminster, Maryland in 1760. They later moved to Antitum, Maryland. Johannes was known as John Warble, Maria Salome (no surname available) was known as Sarah. Descendants lived in Maryland, Ohio, Virginia, Pennsylvania, North Carolina, Michigan, Indiana, Illinois, Florida, Louisiana and elsewhere. Includes Werbel, Warvel, Warble, Sellers, Kaylor, Leap, Kretzer, Shuck, DeRush, Eakle, Bowser, Hovermale and related families.