I'm a bit late to the Ripple Effect series, this is the fourth book but only the first I've read and I can safely say this can be read as a introduction to the series or as a standalone. Following the adventures of retired couple Rapella and her husband, Rip, as they travel around the US in their RV, they find themselves in the middle of a mystery wherever they go. Rapella, a charmingly naive chatterbox, made for an entertaining sleuth (and I enjoyed Itsy as the sidekick!) and I was drooling over the beautiful scenery on their cruise. Add in a mouthy cockatoo, a sweet St Bernard and a zippy, lively plot and there was a lot to like!
The plot, surrounnding an anonymous tip that a local woman's death was not due to natural causes and is later determined to be murder. Suspicion is thrown onto Sydney, one of Rip's cardiac nurses and the niece of the recently decesased woman. There were many facets to the plot, from the seemingly "haunted" house to the squabbling siblings to the possible cache of missing gold and I was sucked in from the start. From the breathtaking scenery on the cruise that made me drool to the many lovable (and not so lovable) characters that jumped off the page and the hijinks that Rapella got into had me chuckling (especially the Uber part!) While I read a lot of cozy mysteries, there have been few that were as fun as this and and I'm definitely going to read the other books in the series.
Lina and Doon live in the City of Ember. They know that the city is running low on resources and that all light will eventually burn out. Lina and Doon go on an adventure and figure out how to fix everything. The only problem is that no one will listen to them. Will Lina and Doon end up saving their city before it is too late?
As a force fueling the development of an Irish national identity in the late 19th and early 20th centuries, the Celtic Revival proved an important movement in modern Irish history. Yet with such luminaries as William Butler Yeats and J. M. Synge among its leading figures, the literary expression of the movement has overshadowed its other elements. In this book, art historian Jeanne Sheehy seeks to provide a more complete understanding of the Revival by examining its impact on the visual arts of the era.
Sheehy begins by tracing the origins of the movement to the developing interest in history throughout Europe in the early nineteenth century, particularly in medieval history. This fueled the first significant study of Irish antiquities, particularly those of the Celtic and early Christian (pre-English) eras. These discoveries generated a growing respect for Ireland’s cultural heritage, one neglected by elites in recent centuries who sought to identify themselves more closely to English culture. Now Irish emblems such as the shamrock and the harp became symbols of Irish pride, and were seized upon by activists such as those in the Young Ireland movement as badges of identity.
Sheehy chronicles this development with a sure command of the artistic developments of the era. She notes the reflection of the movement in the painting, sculpture, and architecture of the era, demonstrating how the Revival was reflected in nearly every field of artistry. Though she concludes that a distinctively Irish style failed to develop from the Revival, she nonetheless identifies several threads of development that demonstrate the importance of the Revival to Irish art from the era. Thoroughly researched, generously illustrated, and well-written, this is a valuable study of its subject, one that offers an added dimension to studying the interaction between culture and nationalism in modern Irish history.