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Ostensibly a ghost story, The Library Window is also an exploration of what is real and what is not, or, as the author says, "A Story of the Seen and Unseen." Newly designed and typeset for easy reading by Boomer Books.
After the death of Margaret Oliphant—the prolific nineteenth-century novelist, biographer, essayist, reviewer, and prominent voice on the “woman question”—two well-intending relatives took the autobiographical manuscripts she composed over a thirty-year period, and recomposed them to suit the model of a conventional memoir. In the process, they suppressed more than a quarter of the material. Based on the original manuscripts, the Broadview edition now makes available the missing text in its original order, and the restored Autobiography of Margaret Oliphant portrays a woman of scathing irony, anger, and grief. Part of Broadview’s Nineteenth-Century British Autobiographies series, this edition also includes extensive excerpts from Oliphant’s diaries.
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The nineteenth century saw a marked rise both in the sheer numbers of women active in visual art professions and in the discursive concern for the woman artist in fiction, the periodical press, art history, and politics. The Woman Painter in Victorian Literature argues that Victorian women writers used the controversial figure of the woman painter to intervene in the discourse of aesthetics. These writers were able to assert their own status as artistic producers through the representation of female visual artists. Women painters posed a threat to the traditional heterosexual erotic art scenarios--a male artist and a male viewer admiring a woman or feminized art object. Antonia Losano traces an actual movement in history in which women writers struggled to rewrite the relations of gender and art to make a space for female artistic production. She examines as well the disruption female artists caused in the socioeconomic sphere. Losano offers close readings of a wide array of Victorian writers, particularly those works classified as noncanonical--by Anne Thackeray Ritchie, Margaret Oliphant, Anne Brontë, and Mrs. Humphrey Ward--and a new look at better-known novels such as Jane Eyre and Daniel Deronda, focusing on the pivotal social and aesthetic meanings of female artistic production in these texts. Each of the novels considered here is viewed as a contained, coherent, and complex aesthetic treatise that coalesces around the figure of the female painter.
Lindores, heir to the Gowrie fortune, faces a terrible test in his family's castle. Newly designed and typeset for easy reading by Boomer Books.
Set in mid-19th century Ayrshire, in the fictitious town of Barbie the novel The House with the Green Shutters (1901) describes the struggles of a proud and taciturn carrier, John Gourlay, against the spiteful comments and petty machinations of the envious and idle villagers of Barbie (the "bodies"). The sudden return after fifteen years' absence of the ambitious merchant, James Wilson, son of a mole-catcher, leads to commercial competition against which Gourlay has trouble responding.
“I read Virginia’s novel in one sitting and was so captured by it I knew I had to make it and play Mrs. March. As a character, she is fascinating, complex, and deeply human and I can’t wait to sink my teeth into her.” —Elisabeth Moss A Jenny Lawson "Fantastic Strangeling Book Club" Selection Oprah Daily • Best of the Month USA Today • Books Not to Miss Who is Mrs. March? George March’s latest novel is a smash. No one could be prouder than his dutiful wife, Mrs. March, who revels in his accolades. A careful creature of routine and decorum, she lives a precariously controlled existence on the Upper East Side until one morning, when the shopkeeper of her favorite patisserie suggests that her husband’s latest protagonist—a detestable character named Johanna—is based on Mrs. March herself. Clutching her ostrich leather pocketbook and mint-colored gloves, she flees the shop. What could have merited this humiliation? That one casual remark robs Mrs. March of the belief that she knew everything about her husband—and herself—thus sending her on an increasingly paranoid journey that begins within the pages of a book. While snooping in George’s office, Mrs. March finds a newspaper clipping about a missing woman. Did George have anything to do with her disappearance? He’s been going on a lot of “hunting trips” up north with his editor lately, leaving Mrs. March all alone at night with her tormented thoughts, and the cockroaches that have suddenly started to appear, and strange breathing noises . . . As she begins to decode her husband’s secrets, her deafening anxiety and fierce determination threaten everyone in her wake—including her stoic housekeeper, Martha, and her unobtrusive son, Jonathan, whom she loves so profoundly, when she remembers to love him at all. Combining a Hitchcockian sensibility with wickedly dark humor, Virginia Feito, a brilliantly talented and, at times, mischievous newcomer, offers a razor-sharp exploration of the fragility of identity. A mesmerizing novel of psychological suspense and casebook insecurity turned full-blown neurosis, Mrs. March will have you second-guessing your own seemingly familiar reflection in the mirror.
Just over hundred years ago, in 1917, Leonard and Virginia Woolf began a publishing house from their dining-room table. This volume marks the centenary of that auspicious beginning. Inspired by Leonard and Virginia Woolf's radical innovations as independent publishers, the volume celebrates the Hogarth Press as a key intervention in modernist and women's writing and demonstrates its importance to independent publishing and bookselling in the long twentieth century. Building on work shared at the 27th Annual Virginia Woolf Conference held at the University of Reading in June 2017, the contributors discuss what Leonard Woolf called "The World of Books" in his long-running column on all sorts of book matters in the weekly periodical the Nation and Athenaeum. Topics include archives, craftsmanship, artwork, libraries, collecting, reading, publishing, translation, reception, re-visions, editing, and teaching. The essays collected here foreground the growing interventions of book and material history in Woolf studies and together provide a timely contribution to debates about independent publishing in our own rapidly-shifting world of books.