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The Historical Romance explores the ways in which romance authors seek to represent our fantasies of life in the past. Examining how the cut-and-thrust swashbucklers of the 1930s gave way to female-orientated romances, Helen Hughes takes a comprehensive look at how romance authors have dealt with the turbulent question of female independence, and how traditional attitudes towards love, marriage and women's sexuality have been approached in more recent texts. Hughes also charts the ways in which the marketing of romance has developed, with the eventual explosion of the mass market and the blockbusting family sagas of the eighties. The Historical Romance unravels the formulaic and mythical nature of historical romance to provide a fascinating study of this highly popular genre.
The author of The Debt to Pleasure digs into his family's extraordinary past in a memoir as enthralling as his finest fiction It was only when his mother died that John Lanchester realized how little he really knew about his parents. With the cache of letters and papers she left behind, he set out to reconstruct just who his parents had been. In doing so, he did much more than trace the remarkable story of a reluctant international banker, a secretive former nun, and the life they shared; he also gained extraordinary insight into his own nature and a deeper understanding of the universal push-pull of family love-and family loss. Part detective work, part evocation of character, this is, above all, compelling storytelling.
This book offers a historical analysis of key classical translated works for children, such as writings by Hans Christian Andersen and Grimms’ tales. Translations dominate the earliest history of texts written for children in English, and stories translated from other languages have continued to shape its course to the present day. Lathey traces the role of the translator and the impact of translations on the history of English-language children’s literature from the ninth century onwards. Discussions of popular texts in each era reveal fluctuations in the reception of translated children’s texts, as well as instances of cultural mediation by translators and editors. Abridgement, adaptation, and alteration by translators have often been viewed in a negative light, yet a closer examination of historical translators’ prefaces reveals a far more varied picture than that of faceless conduits or wilful censors. From William Caxton’s dedication of his translated History of Jason to young Prince Edward in 1477 (‘to thentent/he may begynne to lerne read Englissh’), to Edgar Taylor’s justification of the first translation into English of Grimms’ tales as a means of promoting children’s imaginations in an age of reason, translators have recorded in prefaces and other writings their didactic, religious, aesthetic, financial, and even political purposes for translating children’s texts.