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Callum leaned closer to her throat. “Why would you tease me this way? It’s torture.” “Torture? You know nothing about torture!” Her eyes narrowed, and she bit her bottom lip. “What do you think it’s like to keep such a secret from you? To have these feelings for you and be unable to say a word for fear I’d ruin everything? Not just for me, but for my sister.” His eyes bore into her. “You have feelings for me?” With that, she lifted up on her tiptoes and pressed her lips to his, letting her emotions break free for the first time in her life. If that didn’t answer his question, nothing would. *** In her first season out on the ton, twins Sam and Sabrina Acton have gone to London to find Sabrina a husband. However, it seems Sam is the one in romantic trouble. Terribly burned in a fire when she was younger, Samantha knew she would never be able to find a husband. The best she could do was try to save their family home from a distant—male—cousin. She’s spent her whole life pretending to be a man, a willing sacrifice to keep her sister happy. It never occurred to Sam that a man could fall in love with her. Until she met Callum. Will she be able to keep up the charade, or will her true feelings bring everything to light? Get your Bridgerton fix now with this exciting new Regency romance!
“Let me touch you, Jacey. Let me make you feel good,” Caleb whispered. “You’re already making me feel good,” I blurted, my body tingling deliciously under his touch. “I can make you feel better,” Caleb said, nipping my lower lip. “Let me?” “W-What do you need me to do?” I asked. “Relax, and close your eyes,” Caleb replied. I feel his hand on me, and I closed my eyes tight. *** Caleb is my 22-year-old stepbrother. When I was 15, I blurted out that I loved him. He laughed and left the room. Ever since, things have been awkward, to say the least. But now, it's my 18th birthday, and we are going away camping--with our parents. My dad. His mom. Fun times. I'm planning trying to get lost as much as possible so that I don't have to face Caleb. I do end up getting lost, but Caleb is with me, and when we find ourselves in a deserted cabin, I find out that his feelings toward me aren't quite what I thought. In fact, he wants me to! But he's my stepbrother. Our parents will kill us--if the illegal loggers who just knocked down the door don't do it first. If you like steamy, forbidden romance, Stranded With My Stepbrother is the book for you!
This groundbreaking study explores the later lives and late-life writings of more than two dozen British women authors active during the long eighteenth century. Drawing on biographical materials, literary texts, and reception histories, Devoney Looser finds that far from fading into moribund old age, female literary greats such as Anna Letitia Barbauld, Frances Burney, Maria Edgeworth, Catharine Macaulay, Hester Lynch Piozzi, and Jane Porter toiled for decades after they achieved acclaim -- despite seemingly concerted attempts by literary gatekeepers to marginalize their later contributions. Though these remarkable women wrote and published well into old age, Looser sees in their late careers the necessity of choosing among several different paths. These included receding into the background as authors of "classics," adapting to grandmotherly standards of behavior, attempting to reshape masculinized conceptions of aged wisdom, or trying to create entirely new categories for older women writers. In assessing how these writers affected and were affected by the culture in which they lived, and in examining their varied reactions to the prospect of aging, Looser constructs careful portraits of each of her Subjects and explains why many turned toward retrospection in their later works. In illuminating the powerful and often poorly recognized legacy of the British women writers who spurred a marketplace revolution in their earlier years only to find unanticipated barriers to acceptance in later life, Looser opens up new scholarly territory in the burgeoning field of feminist age studies.
Bruce Redford re-creates the vibrant culture of connoisseurship in Enlightenment England by investigating the multifaceted activities and achievements of the Society of Dilettani. Elegantly and wittily he dissects the British connoisseurs whose expeditions, collections, and publications laid the groundwork for the Neoclassical revival and for the scholarly study of Graeco-Roman antiquity. After the foundation of the society in 1732, the Dilettani commissioned portraits of the members. Including a striking group of mock-classical and mock-religious representations, these portraits were painted by George Knapton, Sir Joshua Reynolds, and Sir Thomas Lawrence. During the second half of the century, the society’s expeditions to the Levant yielded a series of pioneering architectural folios, beginning with the first volume The Antiquities of Athens in 1762. These monumental volumes aspired to empirical exactitude in text and image alike. They prepared the way for Specimens of Antient Sculpture (1809), which combines the didactic (detailed investigations into technique, condition, restoration, and provenance) with the connoisseurial (plates that bring the illustration of ancient sculpture to new artistic heights). The Society of Dilettanti’s projects and publications exemplify the Enlightenment ideal of the gentleman amateur, which is linked in turn to a culture of wide-ranging curiosity.
Zuleika Dobson, or, an Oxford love story, is the only novel by English essayist Max Beerbohm, a satire of undergraduate life at Oxford published in 1911. It includes the famous line "Death cancels all engagements" and presents a corrosive view of Edwardian Oxford. The all-male campus of Oxford—Beerbohm’s alma mater—is a place where aesthetics holds sway above all else, and where witty intellectuals reign. Things haven’t changed for its privileged student body for years . . . until the beguiling music-hall prestidigitator Zuleika Dobson shows up. The book’s marvelous prose dances along the line between reality and the absurd as students and dons alike fall at Zuleika’s feet, and she cuts a wide swath across the campus—until she encounters one young aristocrat for whom she is astonished to find she has feelings. As Zuleika, and her creator, zero in on their targets, the book takes some surprising and dark twists on its way to a truly startling ending—an ending so striking that readers will understand why Virginia Woolf said that “Mr. Beerbohm in his way is perfect.” In 1998, the Modern Library ranked Zuleika Dobson 59th on its list of the 100 best English-language novels of the 20th century.
Which every reader of this book is requested to read before beginning the story. This is a Hill-top Novel. I dedicate it to all who have heart enough, brain enough, and soul enough to understand it. What do I mean by a Hill-top Novel? Well, of late we have been flooded with stories of evil tendencies: a Hill-top Novel is one which raises a protest in favour of purity.
An extraordinary masterpiece written from personal experience, Middlemarch is a deep psychological observation of human nature that revolves around the issues of love, jealousy, and obligation. Eliot's feminist views are apparent through the novel: she stresses the fact that women should control their own lives.
At the outset of the 1870s, the British aristocracy could rightly consider themselves the most fortunate people on earth: they held the lion's share of land, wealth and power in the world's greatest empire. By the end of the 1930s they had lost not only a generation of sons in the First World War, but also much of their prosperity, prestige and political significance.David Cannadine shows how this shift came about and how it was reinforced in the aftermath of the Second World War. Lucidly written and sparkling with wit, The Decline and Fall of the British Aristocracy is a landmark study that dramatically changes our understanding of British social history