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Literary Nonfiction. California Interest. Women's Studies. Film. Memoir. THE BIG LOVE is a Hollywood nightmare. It tells the story of Errol Flynn--a fading, alcoholic movie star--and the underage dancer-actress Beverly Aadland. The narrator? Beverly Aadland's fame-worshiping mother Mrs. Florence Aadland, who spurs the relationship on. There is nothing subtle or sympathetic about this memoir: It is outrageous, grotesque, surreal, notorious--an intimate look at Hollywood exploitation and decay. On the one hand, THE BIG LOVE depicts the deterioration of Errol Flynn, an actor who is quickly losing relevance after years of playing irresistible swashbucklers in films such as Captain Blood (1935) and The Adventures of Robin Hood (1938). He is riddled with medical problems, drinking himself to death. On the other hand, there is Mrs. Florence Aadland, also an alcoholic, an uncultured stage mother psychotically pushing her daughter Beverly forward even at the cost of her own marriage. A bizarre, seedy time capsule of the 1950s, THE BIG LOVE is the long-lost literary sister of Barbara Payton's I AM NOT ASHAMED. And, after languishing out of print for years, it is ready to shock brand new audiences with its absurd humor, villainous characters, and sickly dissipation.
Elizabeth Branwell was born in Penzance in 1770, a member of a large and influential Cornish family of merchants and property owners. In 1821 her life changed forever when her sister Maria fell dangerously ill. Leaving her comfortable life behind, Elizabeth made the long journey north to a remote moorland village in Yorkshire to nurse her sister. After the death of Maria, Elizabeth assumed the role of second mother to her nephew and five nieces. She would never see Cornwall again, but instead dedicated her life to her new family: the Bronts of Haworth, to whom she was known as Aunt Branwell.In this first ever biography of Elizabeth Branwell, we see at last the huge impact she had on Charlotte, Emily and Anne Bront, as well as on her nephew Branwell Bront who spiralled out of control away from her calming influence. It was a legacy in Aunt Branwell's will that led directly to the Bront books we love today, but her influence on their lives and characters was equally important. As opposed to the stern aunt portrayed by Mrs. Gaskell in her biography of Charlotte Bront, we find a kind hearted woman who sacrificed everything for the children she came to love. This revealing book also looks at the Branwell family, and how their misfortunes mirrored that of the Bronts, and we find out what happened to the Bront cousin who emigrated to America, and in doing so uncover the closest living relatives to the Bront sisters today.
The poetry of Christina Rossetti is often described as ‘gothic' and yet this term has rarely been examined in the specific case of Rossetti's work. Based on new readings of the full range of her writings, from ‘Goblin Market' to the devotional poems and prose works, this book explores Rossetti's use of Gothic forms and images to consider her as a Gothic writer. Christina Rossetti's Gothic analyses the poet's use of the grotesque and the spectral and the Christian roots and Pre-Raphaelite influences of Rossetti's deployment of Gothic tropes.
'The Juvenile Tradition' covers the late 18th and early 19th century, drawing on the history of childhood and child studies, along with reception study and audience history to recast literary history.
Christina Rossetti was considered the ideal female poet of her time. Her poetry was devotional, moral, and spoke of frustrated affection. Dolores Rosenblum presents a fresh reading of Rossetti's works and places them in the context of her life. Rosenblum shows that what was ostensibly devotional, moral, and loveless, was actually what Luce Irigaray calls "mimetism," a subtle parody and diversion of the male tradition of literature. Rossetti's work was unified, Rosenblum argues, because she was a deliberate poet, and by accepting the "burden of womanhood," she played out what men only symbolized as female in their art. By her mimicry and revision of the male tradition of literature, Christina Rossetti engaged the patriarchal tradition in ways that make it usable for the female experience, and that provide a critique of the male objectification of women in art. -- From publisher's description.