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Incarnations of fatal women, or femmes fatales, recur throughout the works of women writers in the Romantic period. Adriana Craciun demonstrates how portrayals of femmes fatales or fatal women played an important role in the development of Romantic women's poetic identities and informed their exploration of issues surrounding the body, sexuality and politics. Craciun covers a wide range of writers and genres from the 1790s through the 1830s. She discusses the work of well-known figures including Mary Wollstonecraft, as well as lesser-known writers like Anne Bannerman. By examining women writers' fatal women in historical, political and medical contexts, Craciun uncovers a far-ranging debate on sexual difference. She also engages with current research on the history of the body and sexuality, providing an important historical precedent for modern feminist theory's ongoing dilemma regarding the status of 'woman' as a sex.
World Fantasy Award winner Tanith Lee channels the allusive Esther Garber to tell these dark, erotic tales of lesbian ardor and obsession. The "fatal women" found within these pages lead exotic lives and adventures and have grim secrets. From fin de siècle Paris to Egypt of the 1930s and contemporary England, the Garber novellas create feverish dreams of danger, scandal, and sensuality. This new edition includes the novella "Femme Fatale," never before in print, as well as an essay by Mavis Haut, author of The Hidden Library of Tanith Lee, about the eminence of this collection within Lee's body of work.
In Fatal Females, investigative psychologist and former police profiler Micki Pistorius examines the minds and motives of women who kill. Throughout history the view seems to have prevailed that it is not in women's nature to commit violent crime, but Pistorius shows that this is not in fact the case. Women, givers of life, are indeed capable of ruthlessly taking life. She examines more than fifty documented cases of South African female killers, categorised according to the nature of the crime - for example, infanticide, spree killings, stalkers, poisoners - and she presents her new hypothesis to explain the psychology of that rare individual, the female serial killer.
"I'd gladly sell my soul to Satan for a year of freedom," cries impetuous Rosamond Vivian to her callous grandfather. Then, one stormy night, a brooding stranger appears in her remote island home, ready to take Rosamond to her word. Spellbound by the mysterious Philip Tempest, Rosamond is seduced with promises of love and freedom, then spirited away on Tempest's sumptuous yacht. But she soon finds herself trapped in a web of intrigue, cruelty, and deceit. Desperate to escape, she flees to Italy, France, and Germany, from Parisian garret to mental asylum, from convent to chateau, as Tempest stalks every step of the fiery beauty who has become his obsession. A story of dark love and passionate obsession that was considered "too sensational" to be published in the authors lifetime, A Long Fatal Love Chase was written for magazine serialization in 1866, two years before the publication of Little Women. Buried among Louisa May Alcott's papers for more than a century, its publication is a literary landmark—a novel that is bold, timeless, and mesmerizing."
Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century—a period when for the first time female actors could perform in public. Jean I. Marsden maintains that the feminization of serious drama during this period is tied to the cultural function of theater. Women served as symbols of both domestic and imperial propriety, and so Marsden links the representation of women on the stage to the social context in which the plays appeared and to the moral and often political lessons they offered the audience. The witty heroines of comedies were usually absorbed into the social fabric by marrying similarly lighthearted gentlemen, but the heroines of tragedy suffered for their sins, real or perceived. That suffering served the dual purpose of titillating and educating the theater audience. Marsden discusses such plays as William Wycherley's Plain Dealer (1676), John Vanbrugh's Provoked Wife (1697), Thomas Otway's Orphan (1680), Thomas Southerne's Fatal Marriage (1694), and William Congreve's Mourning Bride (1697). The author also addresses tragedies written by three female playwrights, Mary Pix, Catharine Trotter, and Delarivier Manley, and sketches developments in tragedy during the period.
Esther Garber is the character/novelist who inhabited Tanith Lee as she wrote Fatal Women, a collection of short novels and stories of lesbian love, both sexual and emotional. The stories' heroes and villains are women. Men, however pleasant - or atrocious - are peripheral to Garber's world. Mothers, grandmothers, peculiar aunts - and female lovers, always live out their lives centre stage. Erotic and sophisticatedly explicit, the motivation behind the histories draws from the psychology of women. But is driven by the reasonless logic of the obsessive heart. About Fatal Women In the Paris of 1900, Phhdre is an assassin. She assists female acquaintances suffering from specific male abuse - by 'removing' the abuser. Phhdre is sexually predatory but emotionally cool. Until she meets Rherlotte de Gillan in the Cemetery of St. Luc. Rherlotte's red-haired beauty and enigmatic, dignified sweetness soak relentlessly through Phhdre's shell, like honey. And soon the two women are joined in a dangerous game that is both courtship and duel. Elsewhere, in the late 1800s, the provincial town of Bois-la-Diane begins to be haunted by the dark, phantasmal creature - Virgile, the professional widow. Laure, bored with rural life, her childhood girlfriend and the disappointing 'ladies club' that holds its scandalous sessions in an old chateau, is instantly hypnotised by Virgile. But Virgile's fee is always death, and not only Laure's, but that of another. Each of the eponymous heroines who people Fatal Women has her own secret - one poisonous and potentially lethal, one bittersweet, and one that concerns perhaps the most priceless painting on earth.
"examines the changing social and economic status of women from the 1860s through the 1880s, and rejects the stereotypical mid-Victorian femme fatale portrayed by conservative ideologues critiquing popular fiction by Wilkie Collins, Mary Elizabeth Braddon, Honore de Balzac, and William Makepeace Thackeray. In these book reviews, the female protagonist is simply minimized to a dangerous woman. Refuting this one-dimensional characterization, this book argues that the femme fatale comes to represent the real-life struggles of the middle-class Victorian woman who overcomes major adversities such as poverty, abusive husbands, abandonment, single parenthood, limited job opportunities, the criminal underworld, and Victorian society's harsh invective against her." --publisher description.
Every family has its secrets… As the first anniversary of her marriage to Vice President Nick Cappuano approaches, Lieutenant Sam Holland is dreaming of Bora Bora—sun, sand and a desperately needed break from the DC grind. But real life has a way of intervening, and Sam soon finds herself taking on one of the most perplexing cases of her career. Government worker Josh Hamilton begs Sam to investigate his shocking claim that his parents stole him from another family thirty years ago. More complicated still, his “father” is none other than the FBI director. When a member of Josh’s family is brutally murdered, Sam begins to question how deep the cover-up goes. Is it possible the revered director was part of a baby-napping ring and others involved are also targets? With a killer intent on deadly revenge and her team still reeling from a devastating loss, Sam’s plate is full—and when Nick and their son, Scotty, take ill, is her dream of a tropical anniversary celebration in peril, too?
Feminist science fiction that anticipates a post-patriarchal future. Our Fatal Magic is a collection of feminist science fiction by contemporary artist Tai Shani. Foregrounding explorations of sensation, experience, and interiority, these twelve fantastical prose vignettes refract their ideas through a series of curious characters, from Medieval Mystics to Cubes of Flesh, from Sirens to Neanderthal Hermaphrodites. Drawing on the speculative narrative strategies pioneered by writers like Marge Piercy, Octavia Butler and others, Our Fatal Magic metabolizes new and necessary fictions from feminist and queer theory to propose an erotic, often violent space of critique in which gender constructs are destabilized, alternative histories imagined, and post-patriarchal futures proposed.
End-of-life care—or assisted death When her elderly patients start dying at home days after minor surgery, anesthesiologist Dr. Kate Downey wants to know why. The surgeon, not so much. "Old people die, that's what they do," is his response. When Kate presses, surgeon Charles Ricken places the blame squarely on her shoulders. Kate is currently on probation, and the chief of staff sides with the surgeon, leaving Kate to prove her innocence and save her own career. With her husband in a prolonged coma, it's all she has left. Aided by her eccentric Great Aunt Irm, a precocious medical student, and the lawyer son of a victim, Kate launches her own unorthodox investigation of these unexpected deaths. As she comes closer to exposing the culprit's identity, she faces professional intimidation, threats to her life, a home invasion, and, tragically, the suspicious death of someone close to her. The stakes escalate to the breaking point when Kate, under violent duress, is forced to choose which of her loved ones to save—and which must be sacrificed. Perfect for fans of Kathy Reichs and Tess Gerritsen