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Women Writers and the Hero of Romance studies the nature of the hero and his meaning for the female seeker, or quester, in romance fiction from Wuthering Heights to Fifty Shades of Grey. The book includes chapters on Wuthering Heights, Middlemarch, The Scarlet Pimpernel, The Sheik, and the novels of Ayn Rand and Dorothy Dunnett.
Essays by Sandra Brown, Jayne Ann Krentz, Mary Jo Putney, and other romance writers refute the myths and biases related to the romance genre and its readers.
Three generations of women in the Ferrari family must heal the broken pieces of their lives on a trip of a lifetime through picturesque Italy from New York Times bestselling author Jennifer Probst Workaholic, career-obsessed Francesca is fiercely independent and successful in all areas of her life except one: family. She struggles to make time for her relationship with her teenage daughter, Allegra, and the two have become practically strangers to each other. When Allegra hangs out with a new crowd and is arrested for drug possession, Francesca gives in to her mother's wish that they take one epic summer vacation to trace their family roots in Italy. She just never expected to face a choice that might change the course of her life. . . Allegra wants to make her grandmother happy, but she hates the idea of forced time with her mother and vows to fight every step of the ridiculous tour, until a young man on the verge of priesthood begins to show her the power of acceptance, healing, and the heartbreaking complications of love. Sophia knows her girls are in trouble. A summer filled with the possibility for change is what they all desperately need. Among the ruins of ancient Rome, the small churches of Assisi, and the rolling hills of Tuscany, Sophia hopes to show her girls that the bonds of family are everything, and to remind them that they can always lean on one another, before it's too late.
Hazard and Somerset: Off Duty is a collection of short stories. It includes the following: “Tickets to the Gun Show” Emery Hazard just wants to take his boyfriend to a concert, but some people are assholes. (Takes place before Guilt by Association) “When the Road Rises Up” Hazard and Somers go on their first vacation as a couple, but when no one can explain the sound of a crying child at night, Hazard decides to investigate. (Takes place before Reasonable Doubt) “Little Stoics” Somers is going to get a book signed by Hazard’s favorite author. He just has to keep Hazard from escaping physical therapy first. (Takes place before Criminal Past) “Hazard and Somerset: Off Duty” Six vignettes featuring Hazard and Somerset in daily life. (Takes place after Criminal Past) Please note that three of these stories were distributed in a preliminary form to mailing list subscribers. “Hazard and Somerset: Off Duty” is exclusively available in this collection.
The Gazebo is an elegantly written story of enduring love and loyalty, in the popular tradition of The Bridges of Madison County and The Notebook. Once a year for half a century, a man and a woman have been meeting at the gazebo in the square of a small town in upstate New York. Martin Rayfiel and Claire Swift long ago married other people, yet they have remained faithful to their vow to love each other always. When Martin, now a handsome, elderly man, walks into the office of the town newspaper and tries to tell his tale to the young editor Abby Reston, she is too busy to listen. But the next day Abby finds herself drawn to the gazebo to watch for the annual arrival of Martin and Claire. She waits and waits, but they don't come. Puzzled and intrigued, Abby finds a briefcase that Martin left behind for her, and in it--in photographs, papers, tape recordings, and mementos--is the entire astonishing story of Martin and Claire, a love affair that spanned the globe and somehow survived for fifty years. The only son of the town's wealthiest family, Martin dreamed of being a world-class chef, while Claire, born of poor parents, hoped to be a sculptor. Despite their disparate backgrounds, and in defiance of small-town morality, they left everything behind and traveled together through Europe, until family allegiances suddenly and unexpectedly called Claire home. Before they parted, they vowed that, no matter what, they would meet at the gazebo once a year. Now it's up to Abby to find out what drove these lovers apart, why they continued to meet over the decades, and where they are now. From the picturesque square in the center of a small town to the hotels, restaurants, museums, and boulevards of Paris, Florence, and London, Martin and Claire's story offers a voyage of discovery that transforms Abby Reston's own life. The Gazebo is a haunting tale of love and faithfulness that no reader will ever forget.
Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.
Creating a platform isn't just beneficial--it's essential! In today's world of blogging, websites, Twitter feeds, and Facebook updates, building a writer platform from the ground up can seem a daunting task. Never fear--author and editor Chuck Sambuchino provides expert, practical advice for increasing your visibility, selling more books, and launching a successful career. In Create Your Writer Platform, you'll learn: • The definition of a platform--and why you should start building one now. • How to harness the 12 Fundamental Principles of Platform. • "Old School" and "New School" approaches to platform, from article writing and conference speaking to website development, blog posts, and social media avenues. • How to develop a platform for nonfiction, fiction, and memoir. In addition to Chuck's invaluable insights, you'll also find 12 case studies from authors with effective platforms, as well as professional advice from literary agents. If you're serious about building a platform tailored to you and your writing--a platform that's going to help you succeed as a writer--look no further than Create Your Writer Platform.
New York Times bestselling author Susan Elizabeth Phillips is back with a delightful novel filled with her sassy wit and dazzling charm. He's a reclusive writer whose imagination creates chilling horror novels. She's a down-on-her-luck actress reduced to staging kids' puppet shows. He knows a dozen ways to kill his characters with his bare hands. She knows a dozen ways to kill an audience with laughs. But she's not laughing now. Annie Hewitt has arrived on Peregrine Island in the middle of a snowstorm and at the end of her resources. She's broke, dispirited, but not quite ready to give up. Her red suitcases hold the puppets she uses to make her living: sensible Dilly, spunky Scamp, and Leo, the baddest of bad guys. Her puppets, the romantic novels she loves, and a little bit of courage are all she has left. Annie couldn't be more ill prepared for what she finds when she reaches Moonraker Cottage or for the man who dwells in Harp House, the mysterious mansion that hovers above the cottage. When she was a teenager, he betrayed her in a way she can never forget or forgive. Now they're trapped together on a frozen island along with a lonely widow, a mute little girl, and townspeople who don't know how to mind their own business. Is he the villain she remembers, or has he changed? Her head says no. Her heart says yes. It's going to be a long, hot winter.
Byronic Heroes in Nineteenth-Century Women's Writing and Screen Adaptation charts a new chapter in the changing fortunes of a unique cultural phenomenon. This book examines the afterlives of the Byronic hero through the work of nineteenth-century women writers and screen adaptations of their fiction. It is a timely reassessment of Byron's enduring legacy during the nineteenth century and beyond, focusing on the charged and unstable literary dialogues between Jane Austen, Elizabeth Gaskell, George Eliot and a Romantic icon whose presence takes centre stage in recent screen adaptations of their most celebrated novels. The broad interdisciplinary lens employed in this book concentrates on the conflicted rewritings of Byron's poetry, his 'heroic' protagonists, and the cult of Byronism in nineteenth-century novels from Pride and Prejudice to Middlemarch, and extends outwards to the reappearance of Byronic heroes on film and in television series over the last two decades.