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A reluctant lady sleuth finds she's investigating her own family. 1881, Sussex. With a drowned husband—the second love lost—an overbearing family, no longed-for child, and the responsibility of a huge baroque mansion, it's not surprising Lady Helena Whitcombe is overwhelmed. When attractive, mysterious, French physician Armand Fortier disturbs her first weeks of mourning with his theory of murder, Helena's reluctant and ineffective attempts at investigation are hardly life-changing—until the resulting revival in her long-abandoned herbalist studies bring her into confrontation with her past and her family's. Can Lady Helena survive bereavement the second time around? Can she stand up to her six siblings' assumption of the right to control her new life as a widow? And what role will Fortier—who, as a physician, is a most unsuitable companion for an earl's daughter—play in her investigations? Every family has its secrets. The Scott-De Quincy family has more than most.
An intense second chance story Her secret husband… Is back from the dead! When Lady Helena Snowe eloped with Captain William Harborough six years ago, they had one glorious week together before he went to war—only to die in battle. Yet, the man in front of her now is very much alive! The darkness behind Will’s eyes makes Helena wary of letting him back into her life. With Will’s enemies threatening their chance of a fresh start, can their marriage ever be reclaimed? From Harlequin Historical: Your romantic escape to the past.
Sarah Daniels is "a writer with a natural talent for disturbance" (Observer) Set in the gutting sheds of the slaughterhouse at the Cattle Market in late Victorian Deptford, The Gut Girls shows how the lives of the girls are changed when their work is made illegal - "Regarded as little better than whores by their contemporaries the gut girls are...a boisterous, beer-swilling, strong-minded bunch, handy with a knife both in the gutting shed and outside it, defiantly independent in attitude and scornful of the illusion of male supremacy." Malcolm Hay (Time Out). Beside Herself is the first of three plays in this volume that deal with women and madness - "a dramatic analogue of a contemporary social tragedy which exists on a scale we are only just beginning to comprehend" (Observer); Head-Rot Holiday commissioned by Clean Break theatre company for ex-offenders, portrays the fate of women detained in special hospitals, a euphemism for an institution for the "criminally insane" - "There is a fine, hard humour, as well as compassion, in the way Head-Rot Holdiay examines the contradictions entangling these women's lives"; The Madness of Esmé and Shaz is "A weird and wondrous black comedy." (Spectator)
On a medieval world called Wayan, where wondrous beings unravel their destiny through Tarot reading, a powerful sorceress commits a shocking act by abducting the queen’s young children and spiriting them away through enchanted portals. Their memories erased, the children grow up on Earth, oblivious to their heritage. Now, after twenty-one years of searching, opposing magical forces are racing to lay claim to Andrew and Amy. In a race against time, the siblings must embark on a perilous journey to rediscover their past and save their birth mother, Queen Lillian, from the grip of a malevolent star. A captivating tale of love and bravery, Tarot – Crossing Worlds explores the unbreakable bonds of family and the extraordinary lengths we are willing to go to for the ones we love.
LOVE UNDER MISTAKEN IDENTITY The ton calls her Sweet Maria and, even in her fourth Season, eligibles continue to offer her marriage. They do not know Lady Maria despises the hypocritical ways of Polite Society and is trying to sail away to America! Though she is the granddaughter of a duke, Lady Maria is a Child of Scandal because her mother was an American commoner. She blames the duke and the duchess for her parents’ death. Had they not disowned them, they would not have died of a virulent fever in America, leaving her an orphan at the age of five. Lady Maria agrees to an arranged match to ward off her persistent suitors, treating the engagement as a sham one to be ended at her convenience. Then, most unexpectedly, she finds love with a commoner. Only he isn’t a commoner but the Earl of Daventon. Gareth, Earl of Daventon is no stranger to Scandal. Rumour has it that his father had banished his mother for adulterous behavior. And yet, he yearned until his last breath to have her back. Gareth is determined not to repeat his sire’s mistake. Love is a quagmire and I shall not be caught in it. But love finds him. The object of his ardour is a mysterious young woman who dresses like a shop girl and behaves like a lady. Lord Daventon remedies the situation by accepting an arranged match, his betrothed being Lady Maria whom he hasn’t met. All of which leads to a delightful tangle of affairs.
'A spicy work of biographical conjecture ... It's also a rousing reminder of the countless creative women who have been written out of history or have had to fight relentlessly to make themselves heard.' EVENING STANDARD 'The great virtue of Lloyd Malcolm's speculative history lies in its passion and anger: it ends with a blazing address to the audience that is virtually a call to arms. It is throughout, however, a highly theatrical piece ... In rescuing Emilia from the shades, [the play] gives her dramatic life and polemical potency.' GUARDIAN The little we know of Emilia Bassano Lanier (1569 - 1645) is that she may have been the Dark Lady of Shakespeare's Sonnets, mistress of Lord Chamberlain, one of the first English female poets to be published, a mother, teacher who founded a school for women, and radical feminist with North African ancestry. Living at a time when women had such limited opportunities, Emilia Lanier is therefore a fascinating subject for this speculative history. In telling her story, Morgan Lloyd Malcolm represents the stories of women everywhere whose narratives have been written out of history. Originally commissioned for Shakespeare's Globe with an all-female cast, Emilia is published here as a Methuen Drama Student Edition with commentary and notes by Elizabeth Schafer, Professor of Drama at Royal Holloway, University of London, UK.