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A lazy son with no ambitions for the future is sent for the summer to Mannerhouse, a luxurious mansion in a stunning setting, to gain purpose in life. Little does he know, he'll be feminized--not simply crossdressed--into a gorgeous, sexy, classy woman...almost. He becomes Felicity Dee Light and is trained in every aspect of proper society, including manners, deportment, fashion, and everything a woman needs to know to take care of and properly represent her man. The only problem for Felicity is she's still a male inside. Can she rise to the occasion, or is she to be forever relegated to living a purposeless life? Will she fail at this, as she has in everything else? Come and immerse yourself in Felicity Dee Light's story, where life takes on a totally new and terrifying--yet potentially purposeful and wonderful--twist in this new-adult, LGBT, bisexual, short-read, transgender romance. Look inside now.
Terry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period—Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression. Catherine Craft-Fairchild's work provides a useful corrective to Castle's treatment of masquerade. She argues that, in fictions by Aphra Behn, Mary Davys, Eliza Haywood, Elizabeth Inchbald, and Frances Burney, masquerade is double-sided. It is represented in some cases as a disempowering capitulation to patriarchal strictures that posit female subordination. Often within the same text, however, masquerade is also depicted as an empowering defiance of the dominant norms for female behavior. Heroines who attempt to separate themselves from the image of womanhood they consciously construct escape victimization. In both cases, masquerade is the condition of femininity: gender in the woman's novel is constructed rather than essential. Craft-Fairchild examines the guises in which womanhood appears, analyzing the ways in which women writers both construct and deconstruct eighteenth-century cultural conceptions of femininity. She offers a careful and engaging textual analysis of both canonical and noncanonical eighteenth-century texts, thereby setting lesser-read fictions into a critical dialogue with more widely known novels. Detailed readings are informed throughout by the ideas of current feminist theorists, including Luce Irigaray, Julia Kristeva, Mary Ann Doane, and Kaja Silverman. Instead of assuming that fictions about women were based on biological fact, Craft-Fairchild stresses the opposite: the domestic novel itself constructs the domestic woman.
She makes her boyfriend into her girlfriend? It's Christmas break. Gorgeous Piper loves nerdy Jake's passion for buying her clothes, but her intuition tells her he does it not only because he loves her so much but also because of his hidden desire to wear them himself. She buys her love everything needed for crossdressing and transforming Jake into Jackie, her girlfriend. That afternoon, she enlightens him in the nuances of presenting his feminine side and immerses him in the pleasures of catering to his feminine persona. The now feminine, sensual, and very alluring Jackie is then made to keep their plan for a romantic night out at a fine restaurant and dancing. Will Jackie live for this one night only, or will Jake fall to the wayside and Jackie rise like a phoenix from Jake's ashes? What hidden secrets will Jackie discover when she enters the world as a beautiful and alluring young lady? Will Piper's amorous past throw cold water on their relationship, or will it enhance it and drive Jackie's hidden feminine desires? What sort of love will they have, or will their love fail to survive Jake's change into Jackie? Enter the world of a crossdressed and beautifully feminized male, and experience what she discovers in this short-read, new-adult, LGBT, hot and steamy, transgender romance. Look inside now.
In a provocative new approach toward understanding transnational literary cultures, this study examines the specter of the plantation, that physical place most vividly associated with slavery in the Americas. For Elizabeth Russ, the plantation is not merely a literal location, but also a vexing rhetorical, ideological, and psychological trope through which intersecting histories of the New World are told. Through a series of precise, in-depth readings, Russ analyzes the discourse of the plantation through a number of suggestive pairings: male and female perspectives; U.S. and Spanish American traditions; and continental alongside island societies. To chart comparative elements in the development of the postslavery imagination in the Northern and Southern hemispheres, Russ distinguishes between a modern and a postmodern imaginary. The former privileges a familiar plot of modernity: the traumatic transition from a local, largely agrarian order to an increasingly anonymous industrialized society. The latter, abandoning nostalgia toward the past, suggests a new history using the strategies of performance, such as witnessing, reticency, and traversal. Authors examined include The Twelve Southerners, Fernando Ortiz, Teresa de la Parra, Eudora Welty, Antonio Benítez Rojo, Gayl Jones, Toni Morrison, and Mayra Santos-Febres, among others. Applying sharp analyses across a broad range of texts, Russ reveals how the language used to imagine communities influenced by the plantation has been gendered, racialized, and eroticized in ways that oppose the domination of an ever-shifting "North" while often reproducing the fundamental power divide. Her work moves beyond the North-South dichotomy that has often stymied scholarly work in Latin American studies and, importantly, provides a model for future hemispheric approaches.
With a genderfluid protagonist and 21st-century twist, this spirited debut pays homage to the British classics while joyfully centering an LGBTQ+ point of view, perfect for fans of Emily M. Danforth. This charming, immersive read “reminds all queer people, now more than ever, we deserve to take up space and matter” (Kosoko Jackson). Orphaned young and raised with chilly indifference at an all-boys boarding school, Brontë Ellis has grown up stifled by rigid rules and social “norms,” forbidden from expressing his gender identity. His beloved novels and period films lend an escape, until a position as a live-in tutor provides him with a chance to leave St. Mary’s behind. Greenwood Manor is the kind of elegant country house Bron has only read about, and amid lavish parties and cricket matches, the Edwards family welcomes him into the household with true warmth. Mr. Edwards and the young Ada, Bron’s pupil, accept without question that Bron’s gender presentation is not traditionally masculine. Only Darcy, the eldest son, seems uncomfortable with Bron—the two of them couldn’t be more opposite. When a tragic fire blazes through the estate’s idyllic peace, Bron begins to sense dark secrets smoldering beneath Greenwood Manor’s surface. Channeling the heroines of his cherished paperbacks, he begins to sift through the wreckage. Soon, he’s not sure what to believe, especially with his increasing attraction to Darcy clouding his vision. Drawing energy and inspiration from Charlotte Brontë, Jane Austen, E.M. Forster, and more while bowing to popular fiction such as Plain Bad Heroines, The Manor House Governess is destined to become a modern classic.
A survey of British women’s writings of the late eighteenth and early nineteenth centuries, and the revolutionary New Woman they promoted. British women writers were enormously influential in the creation of public opinion and political ideology during the years from 1780 to 1830. Anne Mellor demonstrates the many ways in which they attempted to shape British public policy and cultural behavior in the areas of religious and governmental reform, education, philanthropy, and patterns of consumption. She argues that the theoretical paradigm of the “doctrine of the separate spheres” may no longer be valid. According to this view, British society was divided into distinctly differentiated and gendered spheres of public versus private activities in the eighteenth and nineteenth centuries, Surveying all the genres of literature?drama, poetry, fiction, non-fiction prose, and literary criticism?Mellor shows how women writers promoted a new concept of the ideal woman as rationally educated, sexually self-disciplined, and above all, virtuous. This New Woman, these writers said, was better suited to govern the nation than were its current fiscally irresponsible, lecherous, and corruptible male rulers. Beginning with Hannah More, Mellor argues that women writers too often dismissed as conservative or retrogressive instead promoted a revolution in cultural mores or manners. She discusses writers as diverse as Elizabeth Inchbald, Hannah Cowley, and Joanna Baillie; as Charlotte Smith, Anna Barbauld, and Lucy Aikin; as Mary Wollstonecraft, Charlotte Reeve, and Anna Seward; and concludes with extended analyses of Charlotte Smith’s Desmond and Jane Austen’s Persuasion. She thus documents women writers’ full participation in that very discursive public sphere which Habermas so famously restricted to men of property. Moreover, the new career of philanthropy defined by Hannah More provided a practical means by which women of all classes could actively construct a new British civil society, and thus become the mothers not only of individual households but of the nation as a whole. “Intellectual and social historians (and not just feminists) have long believed that the late 18th and early 19th centuries in Britain saw an increasing separation of the male (public) and female (domestic) realms, with the result that the public sphere theorized by Jurgen Habermas and others to have emerged in the Enlightenment almost entirely excluded women. With energy, wit, and admirable command of her sources, Mellor . . . author of distinguished books on Romanticism . . . demonstrates that just the opposite was true: in the years around 1800, women became the primary producers and consumers of writing in Britain and vitally participated in the discursive public sphere—many arguing in their different ways for what Hannah More (the most popular author of the period) called a moral revolution in the national manners and principles. . . . [A] splendid survey of women novelists, poets, critics, playwrights, and social theorists . . . this bracing and important work of revision deserves a place in serious academic libraries serving both undergraduates and advanced scholars.” —D. L. Patey, Choice
A cross-dresser's dreams come true? A male-to-female femboy crossdresser has regular dreams about presenting and living a feminine life rather than a masculine one and decides to bite the bullet, to live full-time for a while. Little did she know, she would have help and support and would land in in a dreamlike existence, where all her crossdreaming can come true. She finds her true self and immediately makes new friends and lovers to carry her into her new life. Immerse yourself in her exploration of a whole new sensual, feminine way of living, loving, and plunging herself into the pleasures of being fully feminized-mentally and physically-in this steamy LGBT, crossdressing, feminization, new-adult, transgender, first-time, short-read romance.
In Who Says?, scholars of rhetoric, composition, and communications seek to revise the elitist "rhetorical tradition" by analyzing diverse topics such as settlement house movements and hip-hop culture to uncover how communities use discourse to construct working-class identity. The contributors examine the language of workers at a concrete pour, depictions of long-haul truckers, a comic book series published by the CIO, the transgressive "fat" bodies of Roseanne and Anna Nicole Smith, and even reality television to provide rich insights into working-class rhetorics. The chapters identify working-class tropes and discursive strategies, and connect working-class identity to issues of race, gender, and sexuality. Using a variety of approaches including ethnography, research in historic archives, and analysis of case studies, Who Says? assembles an original and comprehensive collection that is accessible to both students and scholars of class studies and rhetoric.
Femboys fully feminized? Two bookworm femboys embark on a journey of discovery when one of them sets up a full makeover and feminization for them. Paradigms are broken, changing their personal internal programming. Will they be able to give up the few remnants of their male sexuality in favor of exploring the richness of femininity? Will their desires in life change? Can feminization, denial, and male chastity lead to enlightenment and new-found power, or will it lead to frustration and insatiable desires. Will they find love? Enter this world of exploration as two feminized male roommates crossdress and turn their femboy, bookworm lives upside down. Gender-bending and denial though male chastity blur the lines of sexuality and desire and enhance all their senses, giving them seemingly impossible powers. Experience this short-read, LGBT romance about hot and steamy new adult love.
Never fitting in with other boys, never quite feeling right about himself, a femboy, Jessie, is introduced to a new way of looking at things. His gorgeous, intelligent, roommate Shelly takes the bull by the horns, so to speak, and turns the femboy into a gender he can identify with as she crossdresses him and feminizes him into something he never dreamed he could be. Through the use of male chastity and various other methods, Shelly makes Jessie see why he should be Jessica. They meet a rich, handsome LGBT supporter and open-minded man who sees them as his ideal women, and the three of them discover a new way to live. Enter the dream as femboy Jessie becomes fully feminized as Jessica and is immersed in a world that fits better than it ever had before. Paradigms are broken, and a new and intoxicating world unfolds in a steamy and sensual tale of discovery for these new adults finding love and fresh experiences in this very hot, gender-bending, LGBT romance. Look inside and start reading this short read of around 21,000 words now.