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A new start. With old secrets . . . Who hasn’t dreamed of running away from it all? The Haunt family have gone and clone it. On an impulse, Maude, her husband Horatio and their two small children have left their tiny London terrace for the sunflower fields and the vie rustique of Southern France. Up the road, the scruffy Hotel Marronnier is about to change hands again. Daffy Fielding has fallen in love with the place and has dragged her husband to France to persuade him to buy it. Which he does—before heading straight back home to his mistress. Can timid Daffy make a life for herself alone? Watching over all the new arrivals is the glamorous, predatory, eternally bored Lady Emma Rankin. From her exquisite chateau nearby, she pulls strings to bring the new wives together. But is it Horatio, rather than Maude, who she really wants to sip Sancerre with? Or is her eye on the gorgeous local builder, the only one of them all who is party to the Haunt family's explosive secret? Praise for Daisy Waugh: ‘Sparkling fun.’—Heat ‘Full of laugh-out-loud funny bits.’—New Woman
THIS TOWN WAS BUILT ON SIN The town of Trinidad, Colorado, was a tough place to be a woman in 1913. But it was the best place in the West to find one, if you had the cash. Honeyville, they used to call it. A murder throws Inez and Dora together—two women from opposite sides of a town built for men. Against all odds, the well born girl and the high class hooker are drawn together in friendship... But this is a place that is rotten to the core, and beyond the rustling of silk skirts, the dancing and laughter, deadly unrest is building... Welcome to Honeyville—a town living by its own rules, where nothing is quite as it seems. A Story Inspired by a Lost Chapter in American History 'The delicately constructed plot keeps you guessing until the end' TLS 'Unputdownable' Daily Mail 'Dazzlingly evoked' Sunday Times
When love runs wild, there’s no telling what might blossom. When the restless, rootless Fanny Flynn lands the job as Head Teacher of Fiddleford Village Primary School it feels more like a last resort than another of her new beginnings. She’s a great teacher and all the villagers claim to be behind her. But are they really? In no time she’s locked in a feud with the gruesome Mrs Guppy, stalked by the pushy newcomers from the Old Rectory, plotted against by Kitty, the predatory children's author at Laurel Cottage, and demonised by her pathologically lazy Deputy Head . . . Yet Fanny has fallen in love with Fiddleford. Together with her troublesomely handsome best friend, Louis, and with a little help from the deliciously scented Solomon Creasey, Fanny vows to make this new beginning her last . . . Praise for Daisy Waugh: ‘A witty and romantic read’—Company ‘Sparkling fun’—Heat ‘Full of laugh-out-loud funny bits’—New Woman
'It is odd that the galvanised industry of women's literature should have passed by that most telling of female malaises, Anorexia Nervosa... Daisy Waugh breaks the silence with a resounding clatter of imaginative energy. WHAT IS THE MATTER WITH MARY JANE? is far more than just a gruesome horror story with the moral "Don't slim" slung round its girth. It unites stringency with compassion and humour with social comment, in such a way that the reader not only gains a vivid insight into the insidious nature of this disease, but is treated to a mighty entertaining read in the process' Lucy Ingrams in The Literary Review A natural' Anne Haverty in The Times Literary Supplement 'Miss Waugh has perfect pitch and is hypersensitive to the silliness of the chatter of her London peer group at play...It suggests the rich potential of a whole new genre of light fictional psychopathology' Patrick Skene Catling in the Sunday Telegraph Achieving the right tone of voice for a book's narration is one of the hardest of the novelist's skills, and Daisy Waugh is to be congratulated on getting it dead right in her first novel' Punch
One night. One dance. One love to last a lifetime. AS RUDOLPH VALENTINO FIGHTS FOR HIS LIFE, BARRICADES KEEP THE SWARMING FANS AT BAY. ADORED BY MILLIONS OF WOMEN, BUT LOVED BY ONLY ONE ... WILL SHE BE ABLE TO REACH HIM IN TIME? AUGUST 1916 Fleeing war-ravaged London, Jenny Doyle sets sail for New York. As she draws near the soaring skyscrapers her dreams are dashed when she is sent to work for the wealthy de Saulles family. Known as ‘The Box', their home is Gatsby-like in elegance, yet rife with malice and madness. Only her friendship with dancer Rodolfo offers Jenny a glimpse of escape ... until a tragic day when the household is changed forever. AUGUST 1926 America booms, prohibition rules and one man's movie is breaking box office records. Rodolfo has taken his place on the silver screen as Rudolph Valentino when a chance arises for he and Jenny to meet again. Will the world's most desired film star and his lost love have their Hollywood happy ending, or will tragic echoes of their past thwart them one last time?
RICH. BEAUTIFUL. DAMNED. OCTOBER 1929: AS AMERICA HELTERSKELTERS THROUGH THE LAST DAYS BEFORE THE GREAT CRASH, THE CREAM OF HOLLYWOOD PARTIES HEEDLESSLY ON. Society couple, Max and Eleanor, let the prohibition champagne flow as the glittering facade of their marriage teeters on the brink. As the stock market tumbles they have nowhere to fall but into the arms of their waiting lovers. Hope is delivered in an invitation to one of the absurdly glamorous and legendary house parties at Hearst Castle, the epitome of decadence. With gossip and glamour swirling, the time has come for Max and Eleanor to make a decision. Either they sacrifice everything for fame and fortune or they plunge into the past and grasp one last chance to love each other again. 'Brilliant, compelling and epic'—Daily Mail
The momentous changes which are transforming American life call for a new exploration of the economic and cultural landscape. In this book Sharon Zukin links our ever-expanding need to consume with two fundamental shifts: places of production have given way to spaces for services and paperwork, and the competitive edge has moved from industrial to cultural capital. From the steel mills of the Rust Belt, to the sterile malls of suburbia, to the gentrified urban centers of our largest cities, the "creative destruction" of our economy--a process by which a way of life is both lost and gained--results in a dramatically different landscape of economic power. Sharon Zukin probes the depth and diversity of this restructuring in a series of portraits of changed or changing American places. Beginning at River Rouge, Henry Ford's industrial complex in Dearborn, Michigan, and ending at Disney World, Zukin demonstrates how powerful interests shape the spaces we inhabit. Among the landscapes she examines are steeltowns in West Virginia and Michigan, affluent corporate suburbs in Westchester County, gentrified areas of lower Manhattan, and theme parks in Florida and California. In each of these case studies, new strategies of investment and employment are filtered through existing institutions, experience in both production and consumption, and represented in material products, aesthetic forms, and new perceptions of space and time. The current transformation differs from those of the past in that individuals and institutions now have far greater power to alter the course of change, making the creative destruction of landscape the most important cultural product of our time. Zukin's eclectic inquiry into the parameters of social action and the emergence of new cultural forms defines the interdisciplinary frontier where sociology, geography, economics, and urban and cultural studies meet.