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Charlotte Manners was as stupid as she was beautiful. But she was bright enough to lure Verity Bascombe to her home in London--and to convince Verity to write love letters in her name to the Duke of Denbigh. But then the Duke came to London and fell in love with both of them! Original Regency romance.
This original and “meticulously researched retelling of history’s most infamous voyage” (Denise Kiernan, New York Times bestselling author) uses the sinking of the Titanic as a prism through which to examine the end of the Edwardian era and the seismic shift modernity brought to the Western world. “While there are many Titanic books, this is one readers will consider a favorite” (Voyage). In April 1912, six notable people were among those privileged to experience the height of luxury—first class passage on “the ship of dreams,” the RMS Titanic: Lucy Leslie, Countess of Rothes; son of the British Empire Tommy Andrews; American captain of industry John Thayer and his son Jack; Jewish-American immigrant Ida Straus; and American model and movie star Dorothy Gibson. Within a week of setting sail, they were all caught up in the horrifying disaster of the Titanic’s sinking, one of the biggest news stories of the century. Today, we can see their stories and the Titanic’s voyage as the beginning of the end of the established hierarchy of the Edwardian era. Writing in his signature elegant prose and using previously unpublished sources, deck plans, journal entries, and surviving artifacts, Gareth Russell peers through the portholes of these first-class travelers to immerse us in a time of unprecedented change in British and American history. Through their intertwining lives, he examines social, technological, political, and economic forces such as the nuances of the British class system, the explosion of competition in the shipping trade, the birth of the movie industry, the Irish Home Rule Crisis, and the Jewish-American immigrant experience while also recounting their intimate stories of bravery, tragedy, and selflessness. Lavishly illustrated with color and black and white photographs, this is “a beautiful requiem” (The Wall Street Journal) in which “readers get the story of this particular floating Tower of Babel in riveting detail, and with all the wider context they could want” (Christian Science Monitor).
Tales for Twilight offers a spine-tingling selection of unnerving tales by writers from James Hogg in the early eighteenth century to James Robertson, very much alive in the twenty-first. Scottish authors have proved to be exceptionally good at writing ghost stories. Perhaps it's because of the tradition of oral storytelling that has stretched over centuries, including poems and ballads with supernatural themes. The golden age was during the Victorian and Edwardian period, but the ghost story has continued to evolve and remains popular to this day. Includes stories from Sir Walter Scott, George Mackay Brown, Muriel Spark, Margaret Oliphant, Robert Louis Stevenson, Sir Arthur Conan Doyle, Guy Boothby, Algernon Blackwood, Eileen Bigland, Ronald Duncan, James Robertson and Ian Rankin.
Miss Marjorie Montmorency-James was very lovely, very young, and very impressionable . . . which is why she fell in love with Lord Philip's picture in the newspaper. Little did she suspect that she would soon meet Lord Philip in the flesh. For what would a daughter of the middle class be doing rubbing shoulders with the mobility?
When a hopeless spinster is willed an unexpected fortune, she sets out to take the fashionable world by storm.
A book on entertaining for a whole new generation. The first section covers know-how such as thinking up a reason to party; creating party space, equipping it, and decorating it; planning drink and food; and entertaining with panache. The second section gives a multitude of recipes for finger foods, lunch foods, outdoor foods, and sweets. As with every volume in the Basic Series, the book is loaded with color pictures and provides helpful resource info on the cover flaps.
*AN IRISH TIMES BOOK OF THE YEAR* 'I can't bear the thought of a world without Michael Longley, yet his poetry keeps hurtling towards that fact more and more urgently as it stretches in an unflinching way beyond comfort or certainty.' So wrote Maria Johnston, reviewing Longley's previous book Angel Hill. Yet The Candlelight Master does not only face into shadows. The title poem sums up the chiaroscuro of this collection, named after a mysterious Baroque painter. Other poems about painters - Matisse, Bonnard - imply that age makes the quest for artistic perfection all the more vital. A poem addressed to the eighth-century Japanese poet, Otomo Yakamochi, says: 'We gaze on our soul-landscapes / More intensely with every year.' The soul-landscape of The Candlelight Master is often a landscape of memory. But if Longley looks back over formative experiences, and over the forms he has given them, he channels memory into freshly fluid structures. His new poems about war and the Holocaust speak to our own dark times. Translation brings dead poets up to date too. The bawdy of Catullus becomes Scots 'Hochmagandy'. Yakamochi and the lyric poets of Ancient Greece find themselves at home in Longley's Carrigskeewaun.
A new anthology of twenty ghostly tales of Yuletide terror, collected from rare Victorian periodicals Seeking to capitalize on the success of Charles Dickens's A Christmas Carol (1843), Victorian newspapers and magazines frequently featured ghost stories at Christmas time, and reading them by candlelight or the fireside became an annual tradition, a tradition Valancourt Books is pleased to continue with our series of Victorian Christmas ghost stories. This third volume contains twenty tales, most of them never before reprinted. They represent a mix of the diverse styles and themes common to Victorian ghost fiction and include works by once-popular authors like Ellen Wood and Charlotte Riddell as well as contributions from anonymous or wholly forgotten writers. This volume also features a new introduction by Prof. Simon Stern. "Before me, with the sickly light from the lantern shining right down upon it, was--a cloven hoof! Then the awfulness of the compact I had made came to my mind with terrible force ..." - Frederick Manley, "The Ghost of the Cross-Roads" "By the fireplace there was a large hideous pool of blood soaking into the carpet, and leaving ghastly stains around. I am not ashamed to confess that my brain reeled; the mysterious horror overcame me ..." - Lillie Harris, "19, Great Hanover Street" "A fearful white face comes to me; a horrible mask, with features drawn as in agony--ghastly, pale, hideous! Death or approaching death, violent death, written in every line. Every feature distorted. Eyes starting from the head. Thin lips moving and working--lips that are cursing, although I hear no sound." - Hugh Conway, "A Dead Man's Face"
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.