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From the bestselling author of Odd Girls and Twilight Lovers comes a landmark work--the first of its kind from a major trade publisher. Ideal for women's studies, and gay and lesbian studies courses. In stores for the 25th anniversary of Stonewall.
A chronicle of the modern struggle for gay, lesbian and transgender rights draws on interviews with politicians, military figures, legal activists and members of the LGBT community to document the cause's struggles since the 1950s.
Women in Victorian England wore jewelry made from each other's hair and wrote poems celebrating decades of friendship. They pored over magazines that described the dangerous pleasures of corporal punishment. A few had sexual relationships with each other, exchanged rings and vows, willed each other property, and lived together in long-term partnerships described as marriages. But, as Sharon Marcus shows, these women were not seen as gender outlaws. Their desires were fanned by consumer culture, and their friendships and unions were accepted and even encouraged by family, society, and church. Far from being sexless angels defined only by male desires, Victorian women openly enjoyed looking at and even dominating other women. Their friendships helped realize the ideal of companionate love between men and women celebrated by novels, and their unions influenced politicians and social thinkers to reform marriage law. Through a close examination of literature, memoirs, letters, domestic magazines, and political debates, Marcus reveals how relationships between women were a crucial component of femininity. Deeply researched, powerfully argued, and filled with original readings of familiar and surprising sources, Between Women overturns everything we thought we knew about Victorian women and the history of marriage and family life. It offers a new paradigm for theorizing gender and sexuality--not just in the Victorian period, but in our own.
"Fascinating in its account of famous Lesbians throughout the years, analyzing the books they wrote, their efforts to achieve publication and their lives with other Lesbians. Ranging from the Biblical Ruth and Sappho through creative works in all languages of Western Europe (Italian, French, German, Spanish, English, and Portuguese), Jeanette Howard Foster analyzes poetry, drama and fiction for all reference to Lesbians and Lesbianism. A lengthy section discusses such famous women as the Ladies of Llangollen, Emily Dickinson, Louise Labe, Margaret Fuller, George Sand, Emily and Charlotte Bronte, George Eliot, Adah Isaacs Menken, and "Michael Field." Another section includes analysis of the vital works of the renaissance of Lesbian literature from 1900 through mid-twentieth century that laid the groundwork for today's burgeoning Lesbian literary world including Kay Boyle, Djuna Barnes, Renee Vivien, Natalie Clifford Barney, Virginia Woolf, Isak Dinesen, Colette, Vita Sackville-West, Radclyffe Hall, Dorothy Richardson, Henry Handel Richardson, Christa Winsloe, Frances Brett Young, Lillian Hellman, Dorothy Baker, Helen R. Hull, Rosamond Lehmann, Shirley Jackson, Katherine Mansfield and others too numerous to mention."--Publisher's description.
The lives of two sisters, sensible and reliable Olivia and flighty and beautiful Belinda, are changed forever by "the tragic night that their father would forbid them to speak of ever again."--Jacket
National Bestseller Olivia Dade bursts onto the scene in this delightfully fun romantic comedy set in the world of fanfiction, in which a devoted fan goes on an unexpected date with her celebrity crush, who’s secretly posting fanfiction of his own. Marcus Caster-Rupp has a secret. The world may know him as Aeneas, star of the biggest show on television, but fanfiction readers call him something else: Book!AeneasWouldNever. Marcus gets out his frustrations with the show through anonymous stories about the internet’s favorite couple, Aeneas and Lavinia. But if anyone discovered his online persona, he’d be finished in Hollywood. April Whittier has secrets of her own. A hardcore Lavinia fan, she’s long hidden her fanfic and cosplay hobbies from her “real life”—but not anymore. When she dares to post her latest costume creation on Twitter, her plus-size take goes viral. And when Marcus asks her out to spite her internet critics, truth officially becomes stranger than fanfiction. On their date, Marcus quickly realizes he wants more from April than a one-time publicity stunt. But when he discovers she’s Unapologetic Lavinia Stan, his closest fandom friend, he has one more huge secret to keep from her. With love and Marcus’s career on the line, can the two of them stop hiding once and for all, or will a match made in fandom end up prematurely cancelled?
Do you like an alpha who snarls in the streets and growls in the sheets? Everett is a dominant Over-The-Top grizzly bear shifter who will have you howling for more. This is the second book in the series, but it can be read as a standalone. Bare for the Alpha is the first.This hot shifter book is SAFE, with no cheating, and a furry HEA guaranteed. Enjoy!
Virginia Woolf's playful exploration of a satirical »Oxbridge« became one of the world's most groundbreaking writings on women, writing, fiction, and gender. A Room of One's Own [1929] can be read as one or as six different essays, narrated from an intimate first-person perspective. Actual history blends with narrative and memoir. But perhaps most revolutionary was its address: the book is written by a woman for women. Male readers are compelled to read through women's eyes in a total inversion of the traditional male gaze. VIRGINIA WOOLF [1882–1941] was an English author. With novels like Jacob’s Room [1922], Mrs Dalloway [1925], To the Lighthouse [1927], and Orlando [1928], she became a leading figure of modernism and is considered one of the most important English-language authors of the 20th century. As a thinker, with essays like A Room of One’s Own [1929], Woolf has influenced the women’s movement in many countries.
At the close of the last millennium, Helen Fielding debuted the irrepressible (and blockbuster-bestselling) Bridget Jones. Now, Fielding gives us a sensational new heroine for a new era...Move over 007, a stunning, sexy-and decidedly female-new player has entered the world of international espionage. Her name is Olivia Joules (that’s "J.O.U.L.E.S. the unit of kinetic energy") and she's ready to take America by storm with charm, style, and her infamous Overactive Imagination. How could a girl not be drawn to the alluring, powerful Pierre Ferramo-he of the hooded eyes, impeccable taste, unimaginable wealth, exotic international homes, and dubious French accent? Could Ferramo really be a major terrorist bent on the Western world’s destruction, hiding behind a smokescreen of fine wines, yachts, and actresses slash models? Or is it all just a product of Olivia Joules’s overactive imagination? Join Olivia in her heart-stopping, hilarious, nerve-frazzling quest from hip hotel to eco-lodge to underwater cave, by light aircraft, speedboat, helicopter, and horse, in this witty, contemporary, and utterly unputdownable novel deluxe.
In her reassessment of Amy Lowell as a major figure in the modern American poetry movement, Melissa Bradshaw uses theories of the diva and female celebrity to account for Lowell's extraordinary literary influence in the early twentieth century and her equally extraordinary disappearance from American letters after her death. Recognizing Amy Lowell as a literary diva, Bradshaw shows, accounts for her commitment to her art, her extravagant self-promotion and self-presentation, and her fame, which was of a kind no longer associated with poets. It also explains the devaluation of Lowell's poetry and criticism, since a woman's diva status is always short-lived and the accomplishments of celebrity women are typically dismissed and trivialized. In restoring Lowell to her place within the American poetic renaissance of the nineteen-teens and twenties, Bradshaw also recovers a vibrant moment in popular culture when poetry enjoyed mainstream popularity, audiences packed poetry readings, and readers avidly followed the honors, exploits, and feuds of their favorite poets in the literary columns of daily newspapers. Drawing on a rich array of letters, memoirs, newspapers, and periodicals, but eschewing the biographical interpretations of her poetry that have often characterized criticism on Lowell, Bradshaw gives us an Amy Lowell who could not be further removed from the lonely victim of ill-health and obesity who appears in earlier book-length studies. Amy Lowell as diva poet takes her rightful place as a powerful writer of modernist verse who achieved her personal and professional goals without capitulating to heteronormative ideals of how a woman should act, think, or appear.