Best Selling Books by Elizabeth Scott

in Brussels 2034 Cyrile Standaert, a middle-aged engineer, loses his partner following a hit and run car accident. Thereafter his life and mental health begin to unravel, and his two teenage children in turn begin to slide into truancy and drugs. It is at this point that he is visited by his future self, who has been drafted into a time travel pilot programme run by scientist Sofie Debroux. Future Cyrile offers Present Cyrile the chance to go back to 2008 and change his future. In return for this, he is tasked with helping Sofie's grandfather, former physics lecturer Herman Debroux, to escape a fate of homelessness and alcoholism. Having returned to 2008 Cyrile meets a young Herman and his wife, Nina Debroux, just as they are beginning their married life. The couple take Cyrile into their house as a lodger, and the trio then attempt to set up young Past Cyril of 2008 with a teenage Genevieve Wilkes. They find themselves confronted with the tribal politics of the time, separationist tensions, personal suspicions and cohabitation frictions, not to mention a few time-travel paradoxes along the way. In terms of its inspiration, many aspects of it are based on my own experiences living, working and growing up in Brussels and the Flemish belt around it, along with the differences in culture between myself (a half-Scot, half-Cypriot who is Belgian by proxy) and the local communities. The book is also inspired by a few personal hypotheses about how the coronavirus pandemic will affect our lives, change our habits and shape our views in the future, based on the ways it has done so already.

Set in the Seventeenth Century and against the background of the Thirty Years War, this book is about Sir John Hepburn, described by Cardinal Richelieu as "the best soldier in Christendom and therefore the World" and the only Briton to become a Marshal of France. Thoroughly researched, it follows the historical narrative but is written as a novel to appeal to a broad readership. Born in relative poverty in Scotland, Hepburn learned the soldier's trade with the King's Regiment of the Guards in Paris before joining the mixed regiment of Scots and English sent to support King James the First's daughter, the Winter Queen, in Bohemia. After the disastrous battle of the White Mountain, he and the remnants of his regiment fought their way North until they entered the service of the Swedish King, Gustavus Adolphus, who was then engaged in campaigns against the Hapsburg Imperialists. Hepburn became Gustavus's most successful commander and diaries of the time record that the King "could do nothing without him", but having fought his way as far South as Munich, he quarrelled with the King, allegedly because he was too flamboyant for Gustavus's ascetic tastes, and left for London before the Swedish defeat at Lutzen. Knighted by Charles the First, he was given a warrant to raise a Regiment to be lent for service with the French King, Louis the Thirteenth, who was fighting the Imperialists. Richelieu became both friend and admirer of his military prowess, dubbing him his "Golden Knight". Hepburn fought in Lorraine where he brought to his service the remnants of the Scots Green Brigade which he had led under Gustavus and formed the Royal Scots, of which he was the first Colonel and which, on its return to the British Army several years later, became the First of Foot. After bringing most of Lorraine under French control, Hepburn was killed at the last stages of the siege of Saverne. He was buried in great state in the Cathedral at Toul with the baton of a Marshal of France on his magnificent funerary monument.

Making it up to MaggieHarrison's insecurities catch up with him when finds another man, albeit alone, in his girlfriend's bed. Refusing to hear her explanation, he leaves her. His secretary then meddles in his affairs, effectively driving Maggie away with a vengeance. Upon discovering that woman's perfidy, Harrison tries to remedy the situation, and then finds out Maggie is pregnant! Determined to win her back, Harrison does his best to provide and care for her from a distance while trying to insinuate himself back into her life. Hurt and bewildered, Maggie couldn't believe Harrison would stoop so low, but the evidence seems irrefutable. And now she's worried Harrison wants her only because she carries his child. Harrison's world again spins out of control, and he wonders if he is the best man for Maggie and their child after all...It's up to Maggie to teach Harrison his real worth.Begging BrianaCaleb Younger is certain he will never actually love any woman, having been badly burned in the past because of so-called love. He believes he's fond of Briana Jeffries, has intense sexual feelings for her, and wants her in his life, but doesn't love her. Humiliated, when he says as much while amongst their friends, Briana finally accepts she's been fooling herself--Caleb will never love her. She leaves him to get on with her life. His life now empty, Caleb faces the truth. He loves Briana more than anything, and resorts to everything to get her back. But Briana's friend doesn't want Briana hurt again and conspires to keep the two apart. A series of events and coincidences play out, giving Caleb the opportunity to beg Briana to take him back.These previously published works have been rewritten and bound into one book.

Alma Mahler (18791964) grew up surrounded by artists in late nineteenth-century Vienna. Despite her musical training, demonstrated passion for music, and publication of several Lieder, Mahlers identity as a composer has remained overshadowed by narratives surrounding her personal life and those of her husbands and lovers, not to mention the artistic work of her husbands and lovers. Increasingly, however, interest in Alma Mahler as a composer has been nurtured through creative engagement with that legacy, and frequently by women authors and artists. This dissertation explores the existing literature written by and related to Alma Mahler and identifies some approaches for reevaluating her legacy as a composer. Those writing about the life and legacy of Alma Mahler in the twenty-first century typically follow one of two established paths; that of the rational author writing the irrational female subject or that of creative, and frequently feminist, approaches to Mahlers life and work. I propose a third path, one that acknowledges both of the aforementioned approaches, but that focuses on Mahlers work instead of her words. By drawing attention to Mahler worksthat is, her songs and the performance thereofand considering how reception and recording of these songs has shifted over the past several decades, I am poised to assert that Mahler is a composer. The proliferation of diverging primary source materials surrounding her life and musical activities has prompted some to discount the narrative of Alma Mahler as a legitimate composer. This dissertation acknowledges the varied and often conflicting approaches to and perspectives on the idea of Alma Mahler as a composer and investigates how her music and its performance have been received in light of, and sometimes despite, her own writings. My work reconciles diverse facets of the composer by exploring her own words, the words of others, and, perhaps most importantly, her musical work in contemporary performance. It is my contention that by investigating Mahler through all of these frames, we can identify and contextualize the hidden but significant musical contributions of a young, female song composer in turn-of-the-century Vienna..

Abstract.