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This work concentrates on how eighteenth-century feminine novelists articulate the concerns important to women's lives and fates, and argues that these novelists used their romances to combat the controlling ideologies of the age.
One intrepid young lady, one imperiled earl, sundry nefarious villains … and a dash of dangerous magic. On her 25th birthday, Charlotte Appleby receives an unusual gift from the Faerie godmother she never knew she had: the ability to change shape. Penniless and orphaned, she sets off for London to make her fortune as a man. But a position as secretary to Lord Cosgrove proves unexpectedly challenging. Someone is trying to destroy Cosgrove and his life is increasingly in jeopardy. As Charlotte plunges into London’s backstreets at Cosgrove’s side, hunting his persecutor, she finds herself fighting for her life—and falling in love. The first novel in the wildly entertaining and multi award-winning Baleful Godmother series by USA TODAY bestselling author Emily Larkin. Length: Full-length novel of 94,000 words Sensuality level: A hot Regency romance with steamy love scenes If you love page-turning historical romances that keep you reading all night long, then this series is for you. Be swept into a Regency England brimming with passion and peril, adventure and romance, magic and love. Start this addictive series today!
They say that once you go black, you never go back. I am not completely sure who "they" are, but they obviously never met me. I guess that maybe I am an exception to the rule. I went black, and then I went back. Maybe that sounds cynical. Maybe that sounds flippant. Maybe that even sounds racist. But I am none of those things. I am just a realist, who through an unfortunate turn of events, learned the hard way that everything is in fact black or white. At least for me it is, and always will be. But then there is Calvin King. The thorn in my side, the pain in my ass. He is what some would call the perfect man - an imposing businessman, an even more impressive ladies' man. Every man wants to be him and every woman just wants him. At least that is what I hear. I'm not admitting to anything beyond that. What I do know and will concede to, is that my resolve is tested as soon as I meet Calvin. He ticks every box off my checklist - sexy as sin, tall, dark, rich, intelligent, funny, and...Black. My body craves just the thought of him. How can I possibly keep him at arm's length when he is the only man I want and desire? And it doesn't help that he kisses like a god and sets my body on fire. Crap! Don't ask me how I know that, he doesn't play fair. Most importantly, I can't let him unmask me, it's my only defense. Like I told you before, I already went black, and I am so not going back. Unmasking Charlotte is book 2 of the Taboo Love series and picks up where Hey There, Delilah left off. For this taboo, we tackle interracial relationships. As with Hey There, Delilah, it is a standalone - so don't worry if you haven't read Hey There, Delilah, yet - with a HEA. That means no cliffhanger! Oh, and expect to see some of your favorite characters.
London, 1921. The world's greatest wax sculptor watches in horror as flames consume his museum and melt his uncannily lifelike creations. Twelve years later, he opens a wax museum in New York. Crippled, disfigured, and driven mad by the fire, he resorts to body snatching and murder to populate his displays, preserving the bodies in wax. "In a thousand years you will be as lovely as you are now, " he assures one victim. In The Mystery of the Wax Museum (1933), director Michael Curtiz perfectly captures the macabre essence of realistic wax figures that have excited the darker aspects of the public's imagination ever since Madame Tussaud established her famous museum in London in 1802. Artists, too, have been fascinated by wax sculptures, seeing in them--and in the unique properties of wax itself--an eerie metaphoric power with which to address sexual anxiety, fears of mortality, and other morbid subjects. In Waxworks, Michelle E. Bloom explores the motif of the wax figure in European and American literature and art. In particular, she connects the myth of Pygmalion to the obsession with wax statues of women in the nineteenth-century fetishization of prostitutes and female corpses and as depicted in such "wax fictions" as Dickens's The Old Curiosity Shop (1841). Filmmakers, too, have sought inspiration from wax museums, and Bloom analyzes works from the silent era to such waxwork-themed Hollywood horror films as Mad Love (1935) and House of Wax (1953). Bringing her discussion to the present, Bloom examines the work of contemporary artists who use the medium of wax in ways never imagined by Madame Tussaud. As extravagant new wax museums open in Las Vegas, Times Square, and Paris, Waxworksoffers a provocative cultural history of this enduring--and disturbing--art form.
Princess Charlotte and Prince Leopold, 1816 As Princess Charlotte prepares to marry Prince Leopold, her most trusted lady, Isabelle Fenwick, must remain chaste and beyond scandal. Yet she has never forgotten darkly handsome Count Nikkolae Grazinsky and the kiss he stole... She later discovered the Russian had only used her for a wager, so why does he still seek her company? And why does the air tingle with anticipation when they are together? Surely this rake cannot be thinking of following Prince Leopold's example and making a love-match?
Who benefits and who loses when emotions are described in particular ways? How do metaphors such as "hold on" and "let go" affect people's emotional experiences? Banned Emotions, written by neuroscientist-turned-literary scholar Laura Otis, draws on the latest research in neuroscience and psychology to challenge popular attempts to suppress certain emotions. This interdisciplinary book breaks taboos by exploring emotions in which people are said to "indulge": self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions traces pervasive patterns in the ways emotions are represented that can make people so ashamed of their feelings, they may stifle emotions they need to work through. The book argues that emotion regulation is a political as well as a biological issue, affecting not only which emotions can be expressed, but who can express them, when, and how.