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Women Writers and the Hero of Romance studies the nature of the hero and his meaning for the female seeker, or quester, in romance fiction from Wuthering Heights to Fifty Shades of Grey. The book includes chapters on Wuthering Heights, Middlemarch, The Scarlet Pimpernel, The Sheik, and the novels of Ayn Rand and Dorothy Dunnett.
Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.
Three generations of women in the Ferrari family must heal the broken pieces of their lives on a trip of a lifetime through picturesque Italy from New York Times bestselling author Jennifer Probst Workaholic, career-obsessed Francesca is fiercely independent and successful in all areas of her life except one: family. She struggles to make time for her relationship with her teenage daughter, Allegra, and the two have become practically strangers to each other. When Allegra hangs out with a new crowd and is arrested for drug possession, Francesca gives in to her mother's wish that they take one epic summer vacation to trace their family roots in Italy. She just never expected to face a choice that might change the course of her life. . . Allegra wants to make her grandmother happy, but she hates the idea of forced time with her mother and vows to fight every step of the ridiculous tour, until a young man on the verge of priesthood begins to show her the power of acceptance, healing, and the heartbreaking complications of love. Sophia knows her girls are in trouble. A summer filled with the possibility for change is what they all desperately need. Among the ruins of ancient Rome, the small churches of Assisi, and the rolling hills of Tuscany, Sophia hopes to show her girls that the bonds of family are everything, and to remind them that they can always lean on one another, before it's too late.
IN GRITTY, WORKING-CLASS LONDON, SHE DOES WHAT SHE MUST TO SURVIVE . . . When Nell Whitby breaks into an earl’s house on a midnight quest for revenge, she finds her pistol pointed at the wrong man—one handsome as sin and naked as the day he was born. Pity he’s a lunatic. He thinks her a missing heiress, but more to the point, he’ll help her escape the slums and right a grave injustice. Not a bad bargain. All she has to do is marry him. A NOTORIOUS LADIES’ MAN COULD TAKE HER FROM POVERTY TO OPULENCE . . . BUT AT WHAT PRICE? A rake of the first order, Simon St. Maur spent his restless youth burning every bridge he crossed. When he inherits an earldom without a single penny attached to it, he sees a chance to start over—provided he can find an heiress to fund his efforts. But his wicked reputation means courtship will be difficult—until fate sends him the most notorious missing heiress in history. All he needs now is to make her into a lady and keep himself from making the only mistake that could ruin everything: falling in love. . . .
Mixed martial arts fighter Reid Andrews's chance to reclaim his title as light heavyweight champ is shattered when he's injured only months before the rematch. To make sure he's healed in time, his trainer sends him to recuperate under a professional's care—Reid's best friend's little sister, all grown up. Disorganized and bookish Lucie Miller needs some professional help of her own. She'd do anything to catch the eye of a doctor she's crushed on for years, so when Reid offers seduction lessons in exchange for 24/7 conditioning for the biggest fight of his career, Lucie jumps at the chance. Soon Reid finds himself in the fight of his life...winning Lucie's heart before she gives it to someone else. Each book in the Fighting for Love series is STANDALONE: * Seducing Cinderella * Rules of Entanglement * Fighting For Irish * Sweet Victory
Essays by Sandra Brown, Jayne Ann Krentz, Mary Jo Putney, and other romance writers refute the myths and biases related to the romance genre and its readers.
The Gazebo is an elegantly written story of enduring love and loyalty, in the popular tradition of The Bridges of Madison County and The Notebook. Once a year for half a century, a man and a woman have been meeting at the gazebo in the square of a small town in upstate New York. Martin Rayfiel and Claire Swift long ago married other people, yet they have remained faithful to their vow to love each other always. When Martin, now a handsome, elderly man, walks into the office of the town newspaper and tries to tell his tale to the young editor Abby Reston, she is too busy to listen. But the next day Abby finds herself drawn to the gazebo to watch for the annual arrival of Martin and Claire. She waits and waits, but they don't come. Puzzled and intrigued, Abby finds a briefcase that Martin left behind for her, and in it--in photographs, papers, tape recordings, and mementos--is the entire astonishing story of Martin and Claire, a love affair that spanned the globe and somehow survived for fifty years. The only son of the town's wealthiest family, Martin dreamed of being a world-class chef, while Claire, born of poor parents, hoped to be a sculptor. Despite their disparate backgrounds, and in defiance of small-town morality, they left everything behind and traveled together through Europe, until family allegiances suddenly and unexpectedly called Claire home. Before they parted, they vowed that, no matter what, they would meet at the gazebo once a year. Now it's up to Abby to find out what drove these lovers apart, why they continued to meet over the decades, and where they are now. From the picturesque square in the center of a small town to the hotels, restaurants, museums, and boulevards of Paris, Florence, and London, Martin and Claire's story offers a voyage of discovery that transforms Abby Reston's own life. The Gazebo is a haunting tale of love and faithfulness that no reader will ever forget.
Ex-cavalry officer Matthew Hanger leads a band of mercenaries who defend the innocent, but when a rustler's bullet leaves one of them at death's door, they seek out help from Dr. Josephine Burkett.
Byronic Heroes in Nineteenth-Century Women's Writing and Screen Adaptation charts a new chapter in the changing fortunes of a unique cultural phenomenon. This book examines the afterlives of the Byronic hero through the work of nineteenth-century women writers and screen adaptations of their fiction. It is a timely reassessment of Byron's enduring legacy during the nineteenth century and beyond, focusing on the charged and unstable literary dialogues between Jane Austen, Elizabeth Gaskell, George Eliot and a Romantic icon whose presence takes centre stage in recent screen adaptations of their most celebrated novels. The broad interdisciplinary lens employed in this book concentrates on the conflicted rewritings of Byron's poetry, his 'heroic' protagonists, and the cult of Byronism in nineteenth-century novels from Pride and Prejudice to Middlemarch, and extends outwards to the reappearance of Byronic heroes on film and in television series over the last two decades.
This book reveals the breadth and depth of women’s engagements with Arthurian romance in the late eighteenth and early nineteenth centuries. Tracing the variety of women’s responses to the medieval revival through Gothic literature, travel writing, scholarship, and decorative gift books, it argues that differences in the kinds of Arthurian materials read by and prepared for women produced a distinct female tradition in Arthurian writing. Examining the Arthurian interests of the best-selling female poets of the day, Felicia Hemans and Letitia Elizabeth Landon, and uncovering those of many of their contemporaries, the Arthurian myth in the Romantic period is a vibrant location for debates about the function of romance, the role of the imagination, and women’s place in literary history.