Mission of Honor (Honor Harrington, Book 12) by David Weber

By David Weber

This most up-to-date Honor Harrington novel brings the saga to a different an important turning aspect. Haven has misplaced the struggle on the conflict of Manticore, yet can Honor, turning diplomat with the telepathic information of her tree cat Nimitz, deliver this lightly yet firmly domestic to Haven? additionally, can the Solarian League be persuaded to not movement in on loads of planets that Manticore both claims or whose independence it truly is pledged to maintain? The league is immensely robust in quantity yet no longer in smarts or expertise, and Manticore's newest superweapon fends it off for now. Lurking within the wings is the genetic-slaver conglomerate Manpower, performing throughout the Mesan Alignment, which it has built with a brand new, stealthy house force, with which the Mesans release a devastating assault on Manticore, savaging its naval energy and by the way killing lots of Honor's kinfolk and resulting in a few severe revelations in regards to the manipulation of either Haven and Manticore over the centuries via events whose complete identities and ruthlessness are but to be published. Readers might suppose convinced that they're going to be commemorated many extra instances and revel in it each time. --Roland eco-friendly

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Additional info for Mission of Honor (Honor Harrington, Book 12)

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These phenomena are registered repeatedly in the texts with which we are concerned in this book, but we will begin by exploring how they are played out through the styles and strategies of one postfeminist icon, Madonna, and the generations of female artists who have been identified as the potential inheritors of her mantle. Madonna and child? On 13 February 2011 Lady Gaga arrived at the 53rd Annual Grammy Awards in Los Angeles encased in a giant egg. As the makeshift womb bobbed above the crowds lining the red carpet, carried aloft by four rubber-clad male models, her creative director explained that Lady Gaga was ‘incubating’ and would not be ‘born’ until her performance that evening.

If feminism is an ontology, a way of being, then it is also a hauntology in the Derridean sense – a way of being that is shaped by anxieties about the past, concern for the future and an overarching uncertainty about its own status and ability to effect change in a world where its necessity is perpetually cast into doubt. As a meditation on politics after the ‘death of communism’, or what Francis Fukuyama augurs as the ‘end of history’, Specters of Marx shows how the ghosts of communist revolution continue to haunt the living present as signs of what might have been, and what might yet still be; they are, in essence, ghosts of political possibility.

Even in Walby’s account of feminism’s rude health, its distorted appearance and decreased visibility imply a peculiar ghostliness: if it is not dead, it is not alive in the same way that once it was. As Walby’s reflections indicate, the repeated – if erroneous – sounding of feminism’s death knell has altered the movement’s appearance within the popular imaginary; suspended somewhere between life and death, it is marked by both presence and absence. What, then, are the implications of this position?

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