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“As juicy and enlightening as a page in Meghan Markle's diary.”—InStyle “Presidential darling, America’s sweetheart, national rebel: Teddy Roosevelt’s swashbuckling daughter Alice springs to life in this raucous anthem to a remarkable woman.”—Kate Quinn, New York Times bestselling author of The Alice Network and The Huntress A sweeping novel from renowned author Stephanie Marie Thornton... Alice may be the president's daughter, but she's nobody's darling. As bold as her signature color Alice Blue, the gum-chewing, cigarette-smoking, poker-playing First Daughter discovers that the only way for a woman to stand out in Washington is to make waves—oceans of them. With the canny sophistication of the savviest politician on the Hill, Alice uses her celebrity to her advantage, testing the limits of her power and the seductive thrill of political entanglements. But Washington, DC is rife with heartaches and betrayals, and when Alice falls hard for a smooth-talking congressman it will take everything this rebel has to emerge triumphant and claim her place as an American icon. As Alice soldiers through the devastation of two world wars and brazens out a cutting feud with her famous Roosevelt cousins, it's no wonder everyone in the capital refers to her as the Other Washington Monument—and Alice intends to outlast them all.
Too filthy to be a fairy tale… A few years ago, I was an impoverished cocktail waitress struggling to pay the bills. Now I’m marrying gorgeous Maximillian Rochartè, the Prince of Bellèno. Or at least I’m trying to. Pompous windbag Archbishop Causesdesperdeus claims we’re not legally wed. Says we have to track down the unauthorized priest who performed our ceremony, convince him to scrub his name off the license, and get re-married before the paparazzi blows the scandal wide open. But Max must serve his obligatory Guard duty, so it falls on Leo, his brother the Crown Prince -- who recently admitted he’s 'got feelings' for me, the Ladies-in-Waiting, and me to travel to Italy and do whatever it takes get this messy, sexy job done. What could possibly go wrong? PRAISE for THE CROWN AFFAIR "O-M-Freaking-G!!!... I loved this one! I just couldn’t read it fast enough." BCherry 27 "... thanks to the … very dirty mind of a very hot ginger prince." Rae Sonethyn "...heart all mushing, sexy and delightfully entertaining romantic comedy." A. Reviewer One click this LOL, gorgeous, smutty, Rom-Com. The American Princess © 2018 is the re-imagined, ‘smuttier’ version of Royally Wed: The Poser © 2017. Additional content has been added to the original story.
“As juicy and enlightening as a page in Meghan Markle's diary.”—InStyle “Presidential darling, America’s sweetheart, national rebel: Teddy Roosevelt’s swashbuckling daughter Alice springs to life in this raucous anthem to a remarkable woman.”—Kate Quinn, New York Times bestselling author of The Alice Network and The Huntress A sweeping novel from renowned author Stephanie Marie Thornton... Alice may be the president's daughter, but she's nobody's darling. As bold as her signature color Alice Blue, the gum-chewing, cigarette-smoking, poker-playing First Daughter discovers that the only way for a woman to stand out in Washington is to make waves—oceans of them. With the canny sophistication of the savviest politician on the Hill, Alice uses her celebrity to her advantage, testing the limits of her power and the seductive thrill of political entanglements. But Washington, DC is rife with heartaches and betrayals, and when Alice falls hard for a smooth-talking congressman it will take everything this rebel has to emerge triumphant and claim her place as an American icon. As Alice soldiers through the devastation of two world wars and brazens out a cutting feud with her famous Roosevelt cousins, it's no wonder everyone in the capital refers to her as the Other Washington Monument—and Alice intends to outlast them all.
This book argues that, due to political and ideological shifts in the last decades of the nineteenth century-a time when the class system in England was in a state of flux-a new depiction of social class was possible in the English novel. Late-century writers such as Gissing, James, Hardy and Wells question the middle-class Victorian views of class that had dominated the novel for decades. By disrupting traditional novelistic conventions, these writers reveal the ideology of the historical moment in which those conventions obtained, thereby questioning the 'naturalness' of class assumed by earlier, middle-class Victorian writers. The book contextualizes novels by these writers within their historical moment with reference to relevant maps, journalism, artwork or photography, and specific historical events. It illuminates the relationship between fiction and history in late nineteenth- and early twentieth-century fiction, and especially the relationship between changing depictions of class and the development of realism. Examining the nineteenth-century English novel through the lens of social class allows the twenty-first century critic and student not only to understand the issues at stake in much Victorian fiction, but also to recognize powerful present-day vestiges of this social class system.
The Caribbean has traditionally been understood as a region that did not develop a significant ‘native’ literary culture until the postcolonial period. Indeed, most literary histories of the Caribbean begin with the texts associated with the independence movements of the early twentieth century. However, as recent research has shown, although the printing press did not arrive in the Caribbean until 1718, the roots of Caribbean literary history predate its arrival. This collection contributes to this research by filling a significant gap in literary and historical knowledge with the first collection of essays specifically focused on the literatures of the early Caribbean before 1850.
First published in 1966, this book collects six essays which discuss the experience of social change as it reveals itself in the work of several nineteenth century novelists. In the novels studied, and the discussion of fiction that follows, the authors argue that all these novelists’ attempts to confront social change — to connect old with new, past with present and the attempted inclusiveness of vision in a changing society — sooner or later fail. The essays are polemic in arguing against the contemporary critical consensus that this failure is a limitation of imaginative intelligence rather than an endorsement of a receding past which the process of change was charged with destroying.
This is a book about the long cultural shadow cast by a single bestselling novel, Anthony Hope's The Prisoner of Zenda (1894), which introduced Ruritania, a colourful pocket kingdom. In this swashbuckling tale, Englishman Rudolf Rassendyll impersonates the king of Ruritania to foil a coup, but faces a dilemma when he falls for the lovely Princess Flavia. Hope's novel inspired stage and screen adaptations, place names, and even a board game, but it also launched a whole new subgenre, the "Ruritanian romance". The new form offered swordplay, royal romance, and splendid uniforms and gowns in such settings as Alasia, Balaria, and Cadonia. This study explores both the original appeal of The Prisoner of Zenda, and the extraordinary longevity and adaptability of the Ruritanian formula, which, it is argued, has been rooted in a lingering fascination with royalty, and the pocket kingdom's capacity to hold a looking glass up to Britain and later the United States. Individual chapters look at Hope's novel and its stage and film adaptations; at the forgotten American versions of Ruritania; at the chocolate-box principalities of the musical stage; at Cold War reworkings of the formula; and at Ruritania's recent reappearance in young adult fiction and made-for-television Christmas movies. The adventures of Ruritania have involved a diverse list of contributors, including John Buchan, P.G Wodehouse, Agatha Christie, Vladimir Nabokov, and Ian Fleming among the writers; Sigmund Romberg and Ivor Novello among the composers; Erich Von Stroheim and David O. Selznick among the film-makers; and Robert Donat, Madeleine Carroll, Peter Ustinov, Peter Sellers, and Anne Hathaway among the performers.