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This sweeping historical romance will take you from London’s drawing rooms to the Scottish Highlands as a young countess embarks on a twisting relationship with a handsome rogue—from the New York Times bestselling Sequels series. Elizabeth Cameron, the Countess of Havenhurst, possesses a rare gentleness and fierce courage to match her exquisite beauty. But her reputation is shattered when she is discovered in the arms of Ian Thornton, a notorious gambler and social outcast. A dangerously handsome man of secret wealth and mysterious lineage, Ian’s interest in Elizabeth may not be all that it seems. His voyage to her heart is fraught with intrigue, scandal, and passion, forcing Elizabeth to wonder: is Ian truly just a ruthless fortune hunter? Or could the love in his heart perhaps be true? “Well-developed main characters with a compelling mutual attraction give strength and charm to this romance” (Publishers Weekly) you won’t be able to put down.
In a bathtub in a rooming house in Montreal in 1980, a woman tries to imagine a new life for herself: a life after a passionate affair with a man while falling for a woman, a life that makes sense after her deep involvement in far left politics during the turbulent seventies of Quebec, a life whose form she knows can only be grasped as she speaks it. A new, revised edition of a seminal work of edgy, experimental feminism. With a foreword by Eileen Myles.
In this whirlwind regency romance, perfect for fans of Netflix's Bridgerton, a near-death experience leads to a marriage of convenience for two unsuspecting strangers, but will their unusual meeting lead them to true love? Lady Amelia was raised to be the perfect duchess, accomplished in embroidery, floral arrangement, and managing a massive household. But when an innocent mistake forces her and the uncouth, untitled Benedict Asterly into a marriage of convenience, all her training appears to be for naught. Even worse, she finds herself inexplicably drawn to this man no finishing school could have prepared her for. Benedict Asterly never dreamed saving Amelia's life would lead to him exchanging vows with the hoity society miss. Benedict was taught to distrust the aristocracy at a young age, so when news of his marriage endangers a business deal, Benedict is wary of Amelia's offer to help. But his quick-witted, elegant bride defies all his expectations . . . and if he's not careful, she'll break down the walls around his guarded heart.
When twelve-year-old Ruby's mother goes to jail, Ruby finds her Aunt Eleanor, an ornery nun with some dark secrets, who Ruby hopes will help free her mother.
Helen Knightly has spent a lifetime trying to win the love of a mother who had none to spare. And as this electrifying novel opens, she steps over a boundary she never dreamt she would even approach. But while her act is almost unconscious, it also seems like the fulfilment of a lifetime's buried desire. Over the next twenty-four hours, her life rushes in at her as she confronts the choices that have brought her to this crossroads. 'Exhilarating, unforgettable ... This is a remarkable novel in which every word is vital, each nuance felt ... Candid, gut-wrenching, at times horribly funny and often beautifully touching ... The genius which guides The Almost Moon is its absolute, horrible, multiple truths; its staggering clarity' Eileen Battersby, Irish Times 'As moving as it is unquestionably gripping' Observer 'As gripping as it is strange and wild ... My God, it grips ... I lay awake half the night, feverishly hoping both that it would never end, and that it would all be over soon' Rachel Cooke, Evening Standard
Contains over 450 entries that describe books that have female heroines; includes publishing information, a short overview of the plot, and recollections from famous women about what their favorite book was as a child.
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The romance novel has the strange distinction of being the most popular but least respected of literary genres. While it remains consistently dominant in bookstores and on best-seller lists, it is also widely dismissed by the critical community. Scholars have alleged that romance novels help create subservient readers, who are largely women, by confining heroines to stories that ignore issues other than love and marriage. Pamela Regis argues that such critical studies fail to take into consideration the personal choice of readers, offer any true definition of the romance novel, or discuss the nature and scope of the genre. Presenting the counterclaim that the romance novel does not enslave women but, on the contrary, is about celebrating freedom and joy, Regis offers a definition that provides critics with an expanded vocabulary for discussing a genre that is both classic and contemporary, sexy and entertaining. Taking the stance that the popular romance novel is a work of literature with a brilliant pedigree, Regis asserts that it is also a very old, stable form. She traces the literary history of the romance novel from canonical works such as Richardson's Pamela through Austen's Pride and Prejudice, Brontë's Jane Eyre, and E. M. Hull's The Sheik, and then turns to more contemporary works such as the novels of Georgette Heyer, Mary Stewart, Janet Dailey, Jayne Ann Krentz, and Nora Roberts.