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Constable Will Danbury has infiltrated a school to investigate an alleged crime. What he finds is a deeper, darker mystery—and a potent attraction to the alluring headmistress, Jacqueline Trouvère. But a constable can't get romantically involved with a suspect; even one he thinks is innocent, without committing career suicide. As headmistress of a school devoted to saving the innocent daughters of London's soiled doves, Jacqueline’s life is complicated. Will tempts her in ways she never thought to experience, but she believes no respectable gentleman could love a former courtesan. Despite their best efforts to fight it, a romance blossoms. When danger jeopardizes the school, however, his deceptions and her omissions come to light, threatening to destroy their love. They must look beyond the past to save both their future together and the lives of those they’ve sworn to protect. Each book in the Once Wicked series is STANDALONE: * To Love a Libertine * Once a Courtesan * A Wicked Reputation
From Pulitzer-Prize-nominated author Susan Griffin comes an unprecedented, provocative look at the dazzling world of the West’s first independent women, whose lively liaisons brought them unspoken influence, wealth, and freedom. While they charmed some of Europe’s most illustrious men honing their social skills as well as their sexual ones, the great courtesans gained riches, power, education, and sexual freedom in a time when other women were denied all of these. From Imperia of sixteenth-century Rome, who personified the Renaissance ideal of beauty; Mme. de Pompadour, the arbiter of all things fashionable in eighteenth-century Paris and Versailles; Liane de Pougy, known in France during the Belle Epoque as “Our National Courtesan”; to Sarah Bernhardt, who, following in her mother’s footsteps, supported herself in her early career with a second profession, The Book of the Courtesans tells the life stories and intricacies of the lavish lifestyles of these women. Unlike their geisha counterparts, courtesans neither lived in brothels nor bent their wills to suit their suitors. They were strong- willed, autonomous, and plucky. An open secret, their presence can be felt throughout our culture. The muses who enflamed the hearts and imaginations of our most celebrated artists, they were also artists in their own right. They wrote poetry and novels, invented the cancan at the Moulin Rouge, and presented celebrated acts at the Folies Bergères. They helped to influence and shape the sensibility of modern literature, painting, and fashion. When Greek sculptor Praxiteles wanted to depict Venus he used a famous courtesan as a model, as in later centuries Titian, Veronese, Raphael, Giorgione, and Boucher did when they painted goddesses. When Marcel Proust was a young man it was the courtesan Laure Hayman who took him under her wing, introducing him to the right people, and providing inspiration for one of literature’s greatest masterpieces. And they often had considerable political influence too. When King Louis XV needed advice on foreign affairs or appointments of state he turned to Jeanne du Barry as well as Pompadour. In her witty and insightful prose, as Griffin celebrates these alluring and fascinating women, she restores a lost legacy of women’s history. She gives us the stories of these amazing women who, starting from impoverished or unimpressive beginnings, garnered chateaux, fine coaches, fabulous collections of jewelry, and even aristocratic titles along the way. And through a brilliant exploration of their extraordinary abilities, skills, and talents which Griffin playfully categorizes as their virtues "Timing, Beauty, Cheek, Brilliance, Gaiety, Grace, and Charm" her book explains how, while helping themselves, through their often outrageous, always entertaining examples, the great courtesans not only enriched our cultural heritage but helped to liberate women from the social, sexual, and economic strictures that confined them. Intensively researched and beautifully crafted, The Book of the Courtesans delves into scintillating but often hidden worlds, telling stories gleaned from many sources, including courtesans’ memoirs, presented along with stunning rare photographs to create memorable portraits of some of the most pivotal figures in women’s history.
In this wickedly sexy Regency romance series debut, a Duchess plays seductress in a cunning scheme that leads to love. Julia, Duchess of Colton, has a cunning plan to banish her debts. All she has to do is seduce her estranged husband—an undertaking that proves to be as wickedly pleasurable as it is improper. After learning the secrets of Juliet Leighton, London's leading courtesan, she travels to Venice in disguise as Juliet. Now all she has to do is locate her husband, conceive an heir, and voila, her future is secure! It’s a foolproof plan. After all, Julia’s husband has not bothered to lay eyes on her in eight years, since their hasty wedding day when she was only sixteen. But what begins as a tempestuous flirtation escalates into full-blown passion—and the feeling is mutual! Could the man she married actually turn out to be the love of her life?
The intrigue began with a triple homicide in a luxury apartment building just steps from the Champs-Elyseés, in March 1887. A high-class prostitute and two others, one of them a child, had been stabbed to death—the latest in a string of unsolved murders targeting women of the Parisian demimonde. Newspapers eagerly reported the lurid details, and when the police arrested Enrico Pranzini, a charismatic and handsome Egyptian migrant, the story became an international sensation. As the case descended into scandal and papers fanned the flames of anti-immigrant politics, the investigation became thoroughly enmeshed with the crisis-driven political climate of the French Third Republic and the rise of xenophobic right-wing movements. Aaron Freundschuh's account of the "Pranzini Affair" recreates not just the intricacies of the investigation and the raucous courtroom trial, but also the jockeying for status among rival players—reporters, police detectives, doctors, and magistrates—who all stood to gain professional advantage and prestige. Freundschuh deftly weaves together the sensational details of the case with the social and political undercurrents of the time, arguing that the racially charged portrayal of Pranzini reflects a mounting anxiety about the colonial "Other" within France's own borders. Pranzini's case provides a window into a transformational decade for the history of immigration, nationalism, and empire in France.
My lady, Fiammetta Bianchini, was plucking her eyebrows and biting color into her lips when the unthinkable happened and the Holy Roman Emperor’s army blew a hole in the wall of God’s eternal city, letting in a flood of half-starved, half-crazed troops bent on pillage and punishment. Thus begins In the Company of the Courtesan, Sarah Dunant’s epic novel of life in Renaissance Italy. Escaping the sack of Rome in 1527, with their stomachs churning on the jewels they have swallowed, the courtesan Fiammetta and her dwarf companion, Bucino, head for Venice, the shimmering city born out of water to become a miracle of east-west trade: rich and rancid, pious and profitable, beautiful and squalid. With a mix of courage and cunning they infiltrate Venetian society. Together they make the perfect partnership: the sharp-tongued, sharp-witted dwarf, and his vibrant mistress, trained from birth to charm, entertain, and satisfy men who have the money to support her. Yet as their fortunes rise, this perfect partnership comes under threat, from the searing passion of a lover who wants more than his allotted nights to the attentions of an admiring Turk in search of human novelties for his sultan’s court. But Fiammetta and Bucino’s greatest challenge comes from a young crippled woman, a blind healer who insinuates herself into their lives and hearts with devastating consequences for them all. A story of desire and deception, sin and religion, loyalty and friendship, In the Company of the Courtesan paints a portrait of one of the world’s greatest cities at its most potent moment in history: It is a picture that remains vivid long after the final page.
A passionate encounter in Paris leads a rake to reform his ways in this Regency romance of forbidden desire and secret identities. It’s been more than three months, but Oliver Gregory still remembers the exquisite night he shared with a beautiful woman in Paris. Discovering her working at the discreet London gentlemen’s club he owns comes as a shock . . . even more so when he realizes she’s pregnant! Oliver knows the pain of being an outcast. And he will do all in his power to ensure his child is not born illegitimate. Cecilia will return to his bed . . . as his wife!
Out of the brothel… Wrongly accused of theft, innocent Celina Shelley is cast out of the brothel she calls home and flees to Quinn Ashley, Lord Dreycott, for safety. But the heat in the daredevil adventurer's eyes tells Lina that the danger is just beginning.... And into the rake's bedroom! Lina dresses like a nun, looks like an angel, but flirts like a professional—and the last thing Quinn expects to discover is that she's a virgin!
Courtesans, hetaeras, tawaif-s, ji-s--these women have exchanged artistic graces, elevated conversation, and sexual favors with male patrons throughout history and around the world. In Ming dynasty China and early modern Italy, exchange was made through poetry, speech, and music; in pre-colonial India through magic, music, chemistry, and other arts. Yet like the art of courtesanry itself, those arts have often thrived outside present-day canons and modes of transmission, and have mostly vanished without trace.The Courtesan's Arts delves into this hidden legacy, while touching on its equivocal relationship to geisha. At once interdisciplinary, empirical, and theoretical, the book is the first to ask how arts have figured in the survival or demise of courtesan cultures by juxtaposing research from different fields. Among cases studied by writers on classics, ethnomusicology, anthropology, and various histories of art, music, literature, and political culture are Ming dynasty China, twentieth-century Korea, Edo and modern Japan, ancient Greece, early modern Italy, and India, past and present. Refusing a universal model, the authors nevertheless share a perception that courtesans hover in the crevices of space, time, and practice--between gifts and money, courts and cities, subtlety and flamboyance, feminine allure and masculine power, as wifely surrogates but keepers of culture. What most binds them to their arts in our post-industrialized world of global services and commodities, they find, is courtesans' fragility, as their cultures, once vital to civilizations founded in leisure and pleasure, are now largely forgotten, transforming courtesans into national icons or historical curiosities, or reducing them to prostitution.
When Boston museum curator Piper Chase-Pierpont unearths the steamy memoirs of Regency London's most celebrated courtesan, the Blackbird, she's aroused and challenged by what she finds. Could the courtesan's diaries be used as a modern girl's guide to finding love and empowerment?
A "suspenseful, atmospheric tale. . .punctured by a gut-punch twist" (Entertainment Weekly), A Boy and His Dog at the End of the World is a story of survival, courage and hope amid the ruins of our world. My name's Griz. I've never been to school, I've never had friends, and in my whole life I've not met enough people to play a game of football. My parents told me how crowded the world used to be, before all the people went away. But we were never lonely on our remote island. We had each other, and our dogs. Then the thief came. "This unputdownable story has everything -- a well-imagined post-apocalyptic world, great characters, incredible suspense, and, of course, the fierce love of some very good dogs." -- Kirkus (starred review)