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This book argues that George Meredith as a writer of Victorian fiction is most critical for us today because of the ways in which he wrote against convention. The focus is on seven novels (An Essay on Comedy. The Ordeal of Richard Feverel, The Adventures of Harry Richmond, The Egoist, One of Our Conquerors, Lord Ormont and His Aminta, and The Amazing Marriage) which clearly illuminate the experimental and transgressive impulse in Meredith, as seen in his treatment of controversial contemporary themes, in his departures from conventions of genre, and in his innovations with narrative technique, and the representation of consciousness. canonical writers we now associate with the first wave of modernism in the English novel. James, and then Woolf, Forster, Lawrence, Conrad, Ford, and Joyce, to varying degrees, all saw Meredith as an influence to be reckoned with in their own novelistic experimentation - an influence, this book proposes, essential to understanding the modernist translation of nineteenth-century realism into new formal, thematic, and psychological realms. twentieth-century British novel at the University of Oregon.
According to Laurie Langbauer, the notion of romance is vague precisely because it represents the chaotic negative space outside the novel that determines its form. Addressing questions of form, Langbauer reads novels that explore the interplay between the novel and romance: works by Charlotte Lennox, Mary Wollstonecraft, Charles Dickens, George Eliot, and George Meredith. She considers key issues in feminist debate, in particular the relations of feminist to the poststructuralist theories of Lacan, Derrida, and Foucault. In highlighting questions of gender in this way, Women and Romance contributes to a major debate between skeptical and materialist points of view among poststructuralist critics.
In the vein of classic authors like Julia Quinn, Sarah MacLean, and Eloisa James, award-winning and USA TODAY bestselling author Meredith Duran is at her very best in this sensual and riveting tale of love lost and then found again. By candlelight, she lures him… Glittering court socialites and underworld cutpurses alike know that Adrian Ferrers, Earl of Rivenham, is the most dangerous man in London. Rivenham will let nothing—not the deepening shadow of war, nor the growing darkness within him—interfere with his ambition to restore his family to its former glory. But when tasked by the king to uncover a traitor, he discovers instead a conspiracy—and a woman whose courage awakens terrible temptations. To save her is to risk everything. To love her might cost his life. At swordpoint she defies him… Lady Leonora knows that Rivenham is the devil in beautiful disguise—and that the irresistible tension between them is as unpredictable as the dilemma in which Nora finds herself: held hostage on her own estate by Rivenham and the king’s men. But when war breaks out, Nora has no choice but to place her trust in her dearest enemy—and pray that love does not become the weapon that destroys them both…