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What do older women want? And older than what, anyway? Love, flattery, an end to baby-sitting, a night out without falling asleep? Or the very last chance of gratifying desire, of finding a soul-mate - even if it means paying over the odds...? Confessions of a Sugar Mummy provides the hilarious answer to the most pressing questions for women who have reached a certain age: am I past it? Why is the pursuit of happiness an acceptable goal for all members of the human race except Old Bags? Money, as so often, turns out to be the solution. And when a sixty-something with frankly limited prospects, finds her flat is worth a fortune, she jumps at the chance of entering the world of property with the glamorous younger Frenchman, Alain. Until, to her horror, she realises she can't turn back until the final question is answered: can money buy me love?
With the increasing number of books on contemporary fiction, there is a need for a work that examines whom we value, and why. These questions lie at the heart of this book which, by focusing on four novelists, literary and popular, interrogates the canon over the last fifty years. The argument unfolds to demonstrate that academic trends increasingly control canonicity, as do the demands of genre, the increasing commercialisation of literature, and the power of the literary prize. Turner argues that literary excellence, demonstrated by style and imaginative power, is often missing in many works that have become modern classics and makes a case for the value of the 'universal' in literature. Written in a jargon-free style, with reference to many supporting writers, the book raises a number of significant cultural questions about the arts, fashions and literary reputations, of interest to readers in contemporary literary studies.
In Tess, Tennant offers us an interpretation of Hardy's novel that places the real women in the author's life at its centre. Tess is based on Hardy's real-life obsession with a milkmaid named Augusta Way, who became the model for his tragic heroine Tess of the D'Urbervilles, and Augusta's daughter, Gertrude Bugler, who played Tess in Hardy's stage adaptation of the book. Set in the late Sixties, the spirit of the doomed Tess lives on in a pair of sisters - plain-faced Liza Lu and another dark, beautiful Tess.
To the family in the house crouched between the hills, Aunt Zita's annual visits, like the north wind that accompanies her, bring chaos, terror and enchantment. Yet to the young narrator, Aunt Zita's visits herald every wild night of the imagination: here fabulous feasts precede fantastic flights on the wind's back, over the sleeping village to all the glittering balls and exotic colours of an unknown world. Only the advent of Aunt Thelma and the winter wind can quench Zita's fire - that and the people from the village who cannot bear her magic...
First published in 1996, this sequel to Jane Austen's Sense and Sensibility, written as an exchange of letters, Elinor and Marianne is the correspondence between the married Dashwood sisters – Mrs Brandon and Mrs Edward Ferrars. Passion, in the shape of the charming seducer Willoughby, makes an appearance, together with the perennial themes of money and social embarrassment.
Elizabeth wins Darcy, and Jane wins Bingley - but do they 'live happily ever after'? Emma Tennant's bestselling sequels to Pride and Prejudice ingeniously pick up several threads from Jane Austen's timeless novel, in a lighthearted and affectionate look at the possible subsequent lives of all the main characters. Pemberley tells of Elizabeth's failure to produce a child; while An Unequal Marriage continues the story of the Bennets and their wider circle into the next generation. Sparkling, stylish and ironic, with imaginative insights into the emotions and mores of eighteenth-century English high society, these are elegant and diverting social comedies by a master of the genre.
The Queen goes AWOL. No one can find her: where is she going and why ? In Emma Tennant's hilarious 'autobiography' of Queen Elizabeth, the monarch moves to the Caribbean island of St Lucia, where, after more than half a century on the throne, she can recall the years of her reign in peace and tranquillity. But the house is no more than a hole in the ground, her servants are gone and no one knows that 'Mrs Gloria Smith' is the Queen of England. The Queen quickly realizes she has a lot to learn about living life as a commoner. The story of the sovereign's new life in St Lucia is a funny and touching account of the friendship, sometimes contentious and on occasion baffling, between Her Majesty Queen Elizabeth and a young St Lucian, Austin Ford. How the Queen reacts to her new life- and how she changes as a result- make The Autobiography of the Queen a hilarious and moving tale, in which her need for her subjects is a marked as their dependence on her staying on the throne. "A quiet, quirky charm" - The Times
Two years after Emma Woodhouse married Mr Knightley and they have settled into loving, if not quite passionate, matrimony; Emma is bored. To amuse herself, Emma decides to take up matchmaking again, whether her husband will have it or not. But this time Emma is playing for dangerously high stakes. Recently widowed John Knightley, her brother-in-law, is in need of a wife, so when a fascinating French woman enters Highbury society, Emma sees a golden opportunity. Eliza d'Arblay is of French aristocrat whose parents fled the French Revolution. Beautiful, intriguing and romantic, Emma deems her to be the perfect match for John. But as Eliza charms Highbury society, John isn't the only one who falls deeply in love with her...a passion awakes in Emma that she never would have expected.
It is barely surprising that the lodgers at the Westringham have busy dream lives: it is a place from which anyone would want to escape. But the kaleidoscope begins to turn: the dreams begin to defy their dreamers. They start to merge...
From the acclaimed author of Pemberley and Thornfield Hall comes a tale inspired by Henry JamesThe Beautiful Child is the last known unfinished story by the great American writer, ending on a Jamesian note of terror and amplified throughout by Tennant's trademark feminist-dreamlike style. A chilling account of cruelty and neglect, it suggests a terrifying real scandal behind James's inability to complete his story of a couple who beseech a fashionable artist to paint the child they never had—none other than the dipsomaniac Mr. and Mrs. Smith, longstanding servants of James until the novel was abandoned.