All is fair in love and war... Allegra Hill is smart, honest and selfless – but she has also always been the runner-up. Ever since she was at school, one person has constantly managed to beat her to every prize. Who is Allegra's nemesis? Sparkle Jones, whose life is every bit as glittery as her name. Now twenty-six, Allegra finally feels like a winner, with a house of her own and a job at London's most prestigious estate agents. But suddenly, Sparkle Jones is back. And it all happens right as an unexpected encounter with a handsome man with emerald-green eyes seems like it could change everything. As she races between parties, intrigues and not-quite candlelit dinners, Allegra decides to stake her claim. And this time, she won't lose to anyone...
A hilarious romantic comedy perfect for fans of Sophie Kinsella, Jo Watson and Meg Cabot. One minute, Jemma Pears is a struggling theatrical make-up artist in London. The next, she's been left a vast fortune by her estranged grandmother. The catch: she must marry a man with a title to inherit. Jemma thinks this is truly impossible: she's a romantic, searching for true love, not just a convenient marriage... and besides, where would she even find a titled guy? Enter Ashford, the new Duke of Burlingham. His legacy: massive debts that he must pay back immediately or risk the bank seizing his assets. Or worse: his mother's wrath! When their lawyer hears of their situations, a secret match is made despite their mutual hatred of each other: through marrying Ashford, Jemma can inherit and Ashford can pay back his debts immediately. Problem solved. That is, until their marriage is leaked to the press and everyone finds out... Now they have to play out the charade for at least a year or risk going to jail for fraud! A hilarious pretense ensues and Jemma must battle against a crazy mother in law, a stuffy aristocracy, and finally, and most surprisingly of all, confusing feelings for Ashford...!
All is fair in love and war... Allegra Hill is smart, honest and selfless – but she has also always been the runner-up. Ever since she was at school, one person has constantly managed to beat her to every prize. Who is Allegra's nemesis? Sparkle Jones, whose life is every bit as glittery as her name. Now twenty-six, Allegra finally feels like a winner, with a house of her own and a job at London's most prestigious estate agents. But suddenly, Sparkle Jones is back. And it all happens right as an unexpected encounter with a handsome man with emerald-green eyes seems like it could change everything. As she races between parties, intrigues and not-quite candlelit dinners, Allegra decides to stake her claim. And this time, she won't lose to anyone...
A hilarious romantic comedy perfect for fans of Sophie Kinsella, Jo Watson and Meg Cabot. One minute, Jemma Pears is a struggling theatrical make-up artist in London. The next, she's been left a vast fortune by her estranged grandmother. The catch: she must marry a man with a title to inherit. Jemma thinks this is truly impossible: she's a romantic, searching for true love, not just a convenient marriage... and besides, where would she even find a titled guy? Enter Ashford, the new Duke of Burlingham. His legacy: massive debts that he must pay back immediately or risk the bank seizing his assets. Or worse: his mother's wrath! When their lawyer hears of their situations, a secret match is made despite their mutual hatred of each other: through marrying Ashford, Jemma can inherit and Ashford can pay back his debts immediately. Problem solved. That is, until their marriage is leaked to the press and everyone finds out... Now they have to play out the charade for at least a year or risk going to jail for fraud! A hilarious pretense ensues and Jemma must battle against a crazy mother in law, a stuffy aristocracy, and finally, and most surprisingly of all, confusing feelings for Ashford...!
Examining novels written in nineteenth-century England and throughout most of the West, as well as philosophical essays on the conception of fictional form, Felicia Bonaparte sees the novel in this period not as the continuation of eighteenth-century "realism," as has commonly been assumed, but as a genre unto itself. Determined to address the crises in religion and philosophy that had shattered the foundations by which the past had been sustained, novelists of the nineteenth century felt they had no real alternative but to make the world anew. Finding in the new ideas of the early German Romantics a theory precisely designed for the remaking of the world, these novelists accepted Friedrich Schlegel’s challenge to create a form that would render such a remaking possible. They spoke of their theory as poesis, etymologically "a making," to distinguish it from the mimesis associated with "realism." Its purpose, however, was not only to embody, as George Eliot put it in Middlemarch, "the idealistic in the real," giving as faithful an account of the real as observation can yield, but also to embody in that conception of the real a discussion of ideas that are its "symbolic signification," as Edward Bulwer-Lytton described it in one of his essays. It was to carry this double meaning that the nineteenth-century novelist created, Bonaparte concludes, the language of mythical symbolism that came to be the norm for this form, and she argues that it is in this doubled language that nineteenth-century fiction must be read.
This book covers the history of theater as well as the literature of America from 1880-1930. The years covered by this volume features the rise of the popular stage in America from the years following the end of the Civil War to the Golden Age of Broadway, with an emphasis on its practitioners, including such diverse figures as William Gillette, Mrs. Fiske, George M. Cohan, Maude Adams, David Belasco, George Abbott, Clyde Fitch, Eugene O’Neill, Texas Guinan, Robert Edmond Jones, Jeanne Eagels, Susan Glaspell, The Adlers and the Barrymores, Tallulah Bankhead, Philip Barry, Maxwell Anderson, Mae West, Elmer Rice, Laurette Taylor, Eva Le Gallienne, and a score of others. Entries abound on plays of all kinds, from melodrama to the newly-embraced realistic style, ethnic works (Irish, Yiddish, etc.), and such diverse forms as vaudeville, circus, minstrel shows, temperance plays, etc. This second edition of Historical Dictionary of American Theater: Modernism covers the history of modernist American Theatre through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 2,000 cross-referenced entries on actors and actresses, directors, playwrights, producers, genres, notable plays and theatres. This book is an excellent access point for students, researchers, and anyone wanting to know more about the American Theater in its greatest era.
The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material. The major playwrights and their works to receive in-depth coverage in this volume include: * Eugene O'Neill: The Iceman Cometh (1946), A Moon for the Misbegotten (1947), Long Day's Journey Into Night (written 1941, produced 1956), and A Touch of the Poet (written 1942, produced 1958); * Tennessee Williams: The Glass Menagerie (1944), A Streetcar Named Desire (1947), Summer and Smoke (1948); * Arthur Miller: All My Sons (1947), Death of a Salesman (1949), and The Crucible (1953); * Thornton Wilder: Our Town (1938), The Skin of Our Teeth (1942), Shadow of a Doubt (1943), and The Alcestiad (written 1940s).
The period of 1880 to 1929 is the richest theater era in American history, certainly in the number of plays produced and significant artists, as well as in the centrality of theater in the lives of Americans. As the impact of European modernism gradually seeped into American theater during the 1880s and 1890s, more traditional forms of theater gave way to futurism, symbolism, surrealism, and expressionism. Such playwrights as Eugene O'Neill, George Kelly, Elmer Rice, Philip Barry, and George S. Kaufman ushered in the golden age of American drama." "The A to Z of American Theater: Modernism focuses on legitimate drama, both as influenced by modernism in Europe and by the popular entertainment that also enlivened the era. This is accomplished through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced entries on plays, music, playwrights, performers, producers, critics, architects, designers, and costumes." --Book Jacket.
Felicia Hemans was the most widely read woman poet in the nineteenth-century English-speaking world. Broadview’s edition shows why she was one of the few standard poets to be found in middle-class homes on both sides of the Atlantic, despite being routinely disparaged as a “merely” feminine poet. Included here is poetry representative of her entire career, from often-anthologized works, such as “The Homes of England” and “Casabianca,” to several long poems in their entirety, such as “The Forest Sanctuary.” Also included are selections of her prose and letters, a comprehensive introduction, and selections of views and reviews showing her changing and controversial place in culture into the twentieth century. All selections are edited, annotated, and introduced.
Romance blooms in the balmy air in Island Bliss, a collection of four romantic novellas by beloved African American authors. From the Heart by Rochelle Alers: Architectural historian Aimee Fraser accepts a research project on St. Simons Island off the coast of Georgia, where her greatest discovery is a devastatingly handsome local. What was supposed to be a month of tedious work is suddenly something far more interesting--and deliciously tempting... Our Secret Affair by Carmen Green: Toni Kingsley is looking forward to an all-expense paid week at a luxurious resort on the island of St. Croix until she learns her gorgeous business rival is part of the vacation package. Toni's convinced work and romance don't mix but a week of more than stolen kisses under a tropical sky just might change her mind--forever... An Officer and a Hero by Marcia King-Gamble: A relaxing cruise with her best friend sounds perfect to hard-working Kitt DuMaurier. The last thing she wants is the attention of a sexy ship's officer. A painful past has left Kitt wary of men, but when she finds herself on the exotic island of Aruba, passion is reborn... Heart's Desire by Felicia Mason: Lucia Heart Allen arrives in the Bahamas seeking peace after a messy divorce. She absolutely does not want to get involved, especially with a widowed father of three small children. But the man makes Lucia's heart sing and her body soar. Maybe it's island magic--or maybe Lucia's finally met her prince...
Felicia Londre explores the world of theater as diverse as the Entertainments of the Stuart court and Arthur Miller directing Chinese actors at the Beijing People's Art Theater in "Death of a Salesman." Londre examines: Restoration comedies; the Comedie Francais; Italian "opera seria"; plays of the "Surm und Grand" movement; Russian, French, and Spanish Romantic dramas; American minstrel shows; Brecht and dialectical theater; Dighilev; Dada; Expressionism, Theater of the Absurd productions, and other forms of experimental theater of the late-20th century.>
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