The Fetherling surname originates in the 1700’s in Germany as Fitterling. Viet Fitterling arrived in Philadelphia, Pennsylvania November 2, 1752 along with his family. Over the decades and years since, the surname took on variations such as Fetherling and Featherling. The branch of the Fetherling line which inspired this book began with the marriage of John Matthew Campion to Elizabeth Julia from Ireland. They had eight children one of which was Julia Campion. Julia married Home H. Fetherling in 1900 in Cass County, Indiana.
Sociology Looks at the Arts is intended as a concise yet nuanced introduction to the sociology of art. This book will provide a foundation for teaching and discussing a range of questions and perspectives used by sociologists who study the relationship between the arts – including music, performing arts, visual arts, literature, film and new media – and society.
This book traces the transmission and reception of one of the most influential novels in Western literature. The Golden Ass, the only ancient Roman novel to survive in its entirety, tells of a young man changed into an ass by magic and his bawdy adventures and narrow escapes before the goddess Isis changes him back again. Its centerpiece is the famous story of Cupid and Psyche. Julia Gaisser follows Apuleius' racy tale from antiquity through the sixteenth century, tracing its journey from roll to codex in fourth-century Rome, into the medieval library of Monte Cassino, into the hands of Italian humanists, into print, and, finally, over the Alps and into translation in Spanish, French, German, and English. She demonstrates that the novel's reception was linked with Apuleius' reputation as a philosopher and the persona he projected in his works. She relates Apuleius and the Golden Ass to a diverse cast of important literary and historical figures--including Augustine, Fulgentius, Petrarch, Boccaccio, Bessarion, Boiardo, and Beroaldo. Paying equal attention to the novel's transmission (how it survived) and its reception (how it was interpreted), she places the work in its many different historical contexts, examining its representation in art, literary imitation, allegory, scholarly commentary, and translation. The volume contains several appendixes, including an annotated list of the manuscripts of the Golden Ass. This book is based on the author's Martin Classical Lectures at Oberlin College in 2000.
The soldier next door… Dominic Ransleigh lost more than his arm in battle—he lost his reason for living. Returning to his family seat, he shuns all society. If only his beautiful, plainspoken tenant, Theodora Branwell, wasn't so hard to ignore… Since her fiancé's death on the battlefield, Theo's devoted herself to caring for soldiers' orphans. She's powerfully attracted to Dom, but knows all too well the consequences of temptation. Is Theo, who's survived so much, brave enough to reveal her secret to her handsome, wounded neighbor?
The aim of this study is to explain why some middle-class Victorian women took up various kinds of public social service, as social workers, researchers or reformers. The conventions of the time made it difficult for women to move out of family into public life and the nature of the work they chose demanded great physical and mental courage and endurance. The author examines the family and social background and the individual character of ten famous nineteenth-century women to try to identify the social circumstances and personal qualities that encouraged their social service activities and relates her findings to the problems faced by women of the present who endeavour to combine family responsibilities and outside employment.
Today, most remember “California Girl” Lillian Frances Smith (1871–1930) as Annie Oakley’s chief competitor in the small world of the Wild West shows’ female shooters. But the two women were quite different: Oakley’s conservative “prairie beauty” persona clashed with Smith’s tendency to wear flashy clothes and keep company with the cowboys and American Indians she performed with. This lively first biography chronicles the Wild West showbiz life that Smith led and explores the talents that made her a star. Drawing on family records, press accounts, interviews, and numerous other sources, historian Julia Bricklin peels away the myths that enshroud Smith’s fifty-year career. Known as “The California Huntress” before she was ten years old, Smith was a professional sharpshooter by the time she reached her teens, shooting targets from the back of a galloping horse in Buffalo Bill Cody’s Wild West. Not only did Cody offer $10,000 to anyone who could beat her, but he gave her top billing, setting the stage for her rivalry with Annie Oakley. Being the best female sharpshooter in the United States was not enough, however, to differentiate Lillian Smith from Oakley and a growing number of ladylike cowgirls. So Smith reinvented herself as “Princess Wenona,” a Sioux with a violent and romantic past. Performing with Cody and other showmen such as Pawnee Bill and the Miller brothers, Smith led a tumultuous private life, eventually taking up the shield of a forged Indian persona. The morals of the time encouraged public criticism of Smith’s lack of Victorian femininity, and the press’s tendency to play up her rivalry with Oakley eventually overshadowed Smith’s own legacy. In the end, as author Julia Bricklin shows, Smith cared more about living her life on her own terms than about her public image. Unlike her competitors who shot to make a living, Lillian Smith lived to shoot.
Do schools work differently in deprived and privileged neighbourhoods? As segregation is on the rise in many cities, this book explores how different neighbourhood contexts shape public organisations, by using an innovative approach that combines a Bourdieusian perspective and new institutional theory. Based on interviews and ethnographic data from two primary schools in Berlin, Germany, it shows how local social compositions, symbolic meanings of urban areas, and neighbourhood-based policy interventions structure schools. Educational professionals adapt to these structural differences. The book analyses how teachers’ understandings and practices vary by local context – and what that means for the reproduction of urban inequality.
Guides modern performers and scholars through the intricacies of German Baroque metric theory, via analyses of treatises and organ music by J.S. Bach and other leading composers, such as Buxtehude, Bruhns, and Weckman.
This book investigates the figure of the military man in the long eighteenth century in order to explore how ideas about militarism served as vehicles for conceptualizations of masculinity. Bringing together representations of military men and accounts of court martial proceedings, this book examines eighteenth-century arguments about masculinity and those that appealed to the 'naturally' sexed body and construed masculinity as social construction and performance. Julia Banister's discussion draws on a range of printed materials, including canonical literary and philosophical texts by David Hume, Adam Smith, Horace Walpole and Jane Austen, and texts relating to the naval trials of, amongst others, Admiral John Byng. By mapping eighteenth-century ideas about militarism, including professionalism and heroism, alongside broader cultural concerns with politeness, sensibility, the Gothic past and celebrity, Julia Banister reveals how ideas about masculinity and militarism were shaped by and within eighteenth-century culture.
A revered instructor of the eremitic monks of Nitria, Sketis and Kellia, Evagrius Ponticus is a fascinating yet enigmatic figure in the history of fourth-century mystical thought. This historical and theological re-evaluation of the teaching of Evagrius brings to bear evidence from the Greek and Syriac Evagriana. Focusing on Evagrius' concept of perfection as the acquisition of spiritual knowledge, this book revisits current perceptions of Evagrius's thought and character by comparing and contrasting him with his contemporaries and predecessors, both Christian and pagan. Ideas of the three 'Cappadocians' and the author of the Macariana, as well as Stoic, Neo-Platonic and earlier Christian writers such as Alcinoos, Plotinus, Clement and Origen, are all explored. Konstantinovsky draws attention to a lack of uniformity in the fourth-century views on the origin of the soul, the body-soul relation, and the eschatological destiny of humankind.
An account of the famous American author’s visit to a New England retreat. “Anyone who loves the Berkshires will love this book.” —Debby Applegate, Pulitzer Prize-winning author What drew Nathaniel Hawthorne to a remote village deep in the Berkshire Hills of Western Massachusetts in 1850? Slip into the fascinating social scene he encountered in the drawing rooms and on the croquet lawns of Lenox’s country retreats. Here, under the benevolent spell of the Sedgwick family, the separate worlds of high-minded Bostonians and high-powered New Yorkers were stitched together by conversation, recreation and even marriage. Nurturing the lively exchange of ideas on everything from art to abolition, Lenox’s cottages played host to a community that enlightened a nation. Luminaries such as Caroline Sturgis Tappan and Oliver Wendell Holmes resume their vibrant lives through the rare photographs and engaging sketches of everyday life in Hawthorne’s Lenox: The Tanglewood Circle, which also includes a delightful retrospective visit from Henry James and Edith Wharton.
In the late nineteenth century, Spain’s most prominent writers – Juan Valera, Leopoldo Alas, and Benito Pérez Galdós – made blood a crucial feature of their fiction. Blood Novels examines the cultural and literary significance of blood, unsettling the dominant assumption of the period that blood no longer played a decisive role in social hierarchies. By examining fictional works through the rubric of "blood novels," Julia H. Chang identifies a shared fascination with blood that probes the limits of realism through blood’s dual nature of matter and metaphor. Situating the literature within broader cultural and theoretical debates, Blood Novels attends to the aesthetic contours of material blood and in particular how bleeding is inflected by gender, caste, and race. Critically engaging with feminist theory, theories of race and whiteness, literary criticism, and medical literature, this innovative study makes a case for treating blood as a critical analytic tool that not only sheds new light on Spanish realism but, more broadly, challenges our understanding of gendered and racialized embodiment in Spain.
From a "USA Today" bestselling author comes the first novel in a sexy, humorous new Regency-era trilogy about three aristocratic sisters who resort to desperate means to keep up appearances when they are left destitute by their stepfather. Original.
Dancing Shakespeare is the first history of ballets based on William Shakespeare’s works from the birth of the dramatic story ballet in the eighteenth century to the present. It focuses on two main questions: "How can Shakespeare be danced?" and "How can dance shed new light on Shakespeare?" The book explores how librettists and choreographers have transposed Shakespeare’s complex storylines, multifaceted protagonists, rhetoric and humour into non-verbal means of expression, often going beyond the texts in order to comment on them or use them as raw material for their own creative purposes. One aim of the monograph is to demonstrate that the study of wordless performances allows us to gain a deeper understanding of Shakespeare’s texts. It argues that ballets based on Shakespeare’s works direct the audience’s attention to the "bare bones" of the plays: their situations, their characters, and the evolution of both. Moreover, they reveal and develop the "choreographies" that are written into the texts and highlight the importance of movements and gestures as signifiers in Shakespeare’s plays. This book will be of interest to students and scholars of literature, dance, and music, as well as to an international readership of lovers of Shakespeare, ballet, and the arts.
Portraits of 'good battling evil' in the geography of Hell come in many forms in the Hispanic World. Apocalyptic nightmares, fearful images of life, chaos and death are inclusive and interdepEndent, yet simultaneously project an exceptional quality. Where images remain unfulfilled in narrow allegiances to a proscribed End, this investigation explores how narrative logic may challenge unified notions of finalities. Redeploying transglobal character and narrative potential, it distinguishes itself by training the lens on New Beginnings. Its analysis embeds resilient formulas for combating the End through resistance in Latin America and Spain revealed in gilded illustration, decolonizing drama, messianic chronicles and poetry, baroque letters, racially-motivated novels, sexuality-threatening films, and intimidating immigrant photos complete with destruction wreaked by climate change. Through chaos the resilient Apocalypse simultaneously performs as an internal defense (a vehicle for mourning) and a counter-discourse to power (a mechanism for resistance). Its strategy listens to and keeps the enemy 'in sight and in mind,' a formula for grappling with and engaging difference that analyzes the traces left on each other's cultural fabric in an open-Ended, communal struggle. This study argues for decolonizing the politics of the End and reformulating an incomplete, mythical, uncanny quality into a poetics of resistance garnering communal solutions and obligations. Here the Apocalypse is unremittingly sought after to redefine social justice, salvation and reality over time and past collateral damage, ironically providing future hope against itself, the crushing fear of the End. It crystalizes what had yet to be comprehensively explored: how rival traditions internalize competing apocalyptic worldviews to arrive at sustainable plans of action, time-tested, reputable cultural models to control dissension from within and without, and social goals supported by traces the other imprints on their cultural ethos. Bracketing the finality of the End and arguing the process from conflict archaeology toward New Beginnings, salvation, solace or hope, resolves an incomplete myth by negotiating the afterward. Revealing how plural, competing viewpoints of the End go a long way to legitimize each other, this theory of unfulfilled promise forever changes the way we engage the other and value the self
This study looks at the lives of the most famous "wild children" of eighteenth-century Europe, showing how they open a window onto European ideas about the potential and perfectibility of mankind. Julia V. Douthwaite recounts reports of feral children such as the wild girl of Champagne (captured in 1731 and baptized as Marie-Angélique Leblanc), offering a fascinating glimpse into beliefs about the difference between man and beast and the means once used to civilize the uncivilized. A variety of educational experiments failed to tame these feral children by the standards of the day. After telling their stories, Douthwaite turns to literature that reflects on similar experiments to perfect human subjects. Her examples range from utopian schemes for progressive childrearing to philosophical tales of animated statues, from revolutionary theories of regenerated men to Gothic tales of scientists run amok. Encompassing thinkers such as Rousseau, Sade, Defoe, and Mary Shelley, Douthwaite shows how the Enlightenment conceived of mankind as an infinitely malleable entity, first with optimism, then with apprehension. Exposing the darker side of eighteenth-century thought, she demonstrates how advances in science gave rise to troubling ethical concerns, as parents, scientists, and politicians tried to perfect mankind with disastrous results.
Her mother, who wrote vivid versions of old Irish folk tales, once said of the Irish Civil War: 'In those days... fear kept you from sleeping, but also from getting fat or bored.' Her father was Director of Publicity for the IRA during that savage conflict. He made bombs. A brilliant writer, his first book of stories was banned and he was summoned by his old IRA comrades to be court-martialled for writing it. He became one of Ireland's most celebrated writers and a radical dissident during the 1940s, challenging Church and State for their betrayal of the people's needs. His affairs with Elizabeth Bowen and many other women were betrayals of a more intimate kind. This was the backdrop to Julia O'Faolain's childhood. Her life is filled with great characters: Frank O'Connor, Paul Henry, Garret Fitzgerald, Hubert Butler, Patrick Kavanagh and Richard Ellman; and later, in their villas outside Florence, Harold Acton and Violet Trefusis, along with a cast of prim communists and raffish reactionary aristocrats. This is a book about being an outsider looking in, a trespasser in Ireland and in other countries - France, Italy in the late 1950s, the West Coast during the turbulent sixties - and also in other lives, the permanent temptation of the creative writer.
By the close of the eighteenth century, the theatrical memoir had become a popular and established genre. This ten-volume facsimile collection presents the lives of some of the most celebrated actresses of their day. These memoirs also provide insights into contemporary constructions of gender, sexuality and fame.
“London’s second Royal Match Victorian romance sparkles by pairing a rebellious princess with a reclusive duke…The witty repartee between Amelia and Joshua propels the novel forward while revealing the complex depths of the characters. Readers won’t want to put this down.”—Publishers Weekly on The Duke Not Taken Impossible. Infuriating. Intoxicating. Ever since her sister became queen two years ago, Amelia Ivanosen, Princess of Wesloria, has been flirting and skirting scandal—just barely. Before she does anything too outlandish, she is sent to England and Lila Alexander, illustrious matchmaker to the ton, is recruited. Respectably ensconced at the country estate of a family friend, Amelia is introduced to many eligible bachelors, but…there is no spark. There never seems to be unless the man is completely wrong for her. Next door lives Joshua Parker, Duke of Marley, who is grumpy and reclusive—for good reason. His first wife died in childbirth. When Marley is dragged by a friend to his neighbor’s soiree, he and Amelia instantly dislike each other. Their banter is snarky and heated. He’s a stuck-up smarty-pants; she’s a self-involved, annoying princess. Sparks fly when they’re together—fireworks actually—but they loathe each other. Really. So why can’t they stop thinking about each other? A Royal Match Book 1: Last Duke Standing Book 2: The Duke Not Taken
Harlequin® Historical brings you three new titles for one great price, available now! This Historical box set includes A Dance with Danger by USA TODAY bestselling author Jeannie Lin, The Rake to Reveal Her by Julia Justiss and The Husband Season by Mary Nichols. Look for 6 compelling new stories every month from Harlequin® Historical!
New to the passion galloping in her veins, Lady Valeria Arnold was shocked by the wanton impulses that drew her to Teagan Fitzwilliams. The stunning rake was nothing more than a wastrel with the devil's own luck at cards--surely not the kind of man that a woman could trust her heart to. Orphaned as a young boy, Teagan Fitzwilliams despised the role that Society had forced upon him. Yet until his stolen moments with the Lady Valeria, no woman had ever made him feel his own worth. Nor set him on a desperate course to change his life forever--and claim this woman of uncommon grace his own for a lifetime.
New York Times bestselling author Julia London has thrilled readers of historical romance for more than a decade. Now, together for the first time as an ebook bundle, here are the novels that launched her captivating career. THE DEVIL’S LOVE Abigail Carrington sails to England to marry the man she has loved since childhood. At the altar, Michael Ingram, Marquis of Darfield, seems a dark, brooding stranger. With scandal shadowing his past, the Devil of Darfield has agreed to the marriage only to save his ancestral home. But Abigail’s charm bedevils him—just as the passion of Michael’s kiss gives her hope that theirs can be more than a marriage of convenience. WICKED ANGEL She may be the talk of the ton, but Alexander Christian, Duke of Sutherland, recognizes the ravishing Bavarian countess for who she really is: Lauren Hill, the widowed country girl who captured his heart—despite his pledge to another woman. Lauren needs to see the man who haunts her dreams. Alexander wants one night with his blue-eyed enchantress. They’ll soon discover that forbidden love is always a scandalous choice.
Many well-known male writers produced fictions about colonial spaces and discussed the advantages of realism over romance, and vice versa, in the ‘art of fiction’ debate of the 1880s; but how did female writers contribute to colonial fiction? This volume links fictional, non-fictional and pictorial representations of a colonial otherness with the late nineteenth-century artistic concerns about representational conventions and possibilities. The author explores these texts and images through the postcolonial framework of ‘exoticism’, arguing that the epistemological dilemma of a ‘self’ encountering an ‘other’ results in the interrelated predicament to find poetic modalities – mimetic, realistic and documentary on the one hand; romantic, fantastic and picturesque on the other – that befit an ‘exotic’ representation. Thus women writers did not only participate in the making of colonial fictions but also in the late nineteenth-century artistic debate about the nature of fiction. This book maps the epistemological concerns of exoticism and of difference – self and other, home and away, familiarity and strangeness – onto the representational modes of realism and romance. The author focuses exclusively on female novelists, travel writers and painters of the turn-of-the-century exotic, and especially on neglected authors of academically under-researched genres such as the bestselling novel and the travelogue.
In Belles and Poets, Julia Nitz analyzes the Civil War diary writing of eight white women from the U.S. South, focusing specifically on how they made sense of the world around them through references to literary texts. Nitz finds that many diarists incorporated allusions to poems, plays, and novels, especially works by Shakespeare and the British Romantic poets, in moments of uncertainty and crisis. While previous studies have overlooked or neglected such literary allusions in personal writings, regarding them as mere embellishments or signs of elite social status, Nitz reveals that these references functioned as codes through which women diarists contemplated their roles in society and addressed topics related to slavery, Confederate politics, gender, and personal identity. Nitz’s innovative study of identity construction and literary intertextuality focuses on diaries written by the following women: Eliza Frances (Fanny) Andrews of Georgia (1840–1931), Mary Boykin Miller Chesnut of South Carolina (1823–1886), Malvina Sara Black Gist of South Carolina (1842–1930), Sarah Ida Fowler Morgan of Louisiana (1842–1909), Cornelia Peake McDonald of Virginia (1822–1909), Judith White Brockenbrough McGuire of Virginia (1813–1897), Sarah Katherine (Kate) Stone of Louisiana (1841–1907), and Ella Gertrude Clanton Thomas of Georgia (1843–1907). These women’s diaries circulated in postwar commemoration associations, and several saw publication. The public acclaim they received helped shape the collective memory of the war and, according to Nitz, further legitimized notions of racial supremacy and segregation. Comparing and contrasting their own lives to literary precedents and fictional role models allowed the diarists to process the privations of war, the loss of family members, and the looming defeat of the Confederacy. Belles and Poets establishes the extent to which literature offered a means of exploring ideas and convictions about class, gender, and racial hierarchies in the Civil War–era South. Nitz’s work shows that literary allusions in wartime diaries expose the ways in which some white southern women coped with the war and its potential threats to their way of life.
G K Chesterton (1874–1936) was an important figure in the Edwardian literary world. He engaged closely with the vibrant new influences in literature and reviewed a stream of new editions, biographies, and memoirs for the Daily News. This critical edition includes all of his contributions to the Daily News from 1901 to 1913.
A seminal work exploring the daily life and status of southern women in colonial America, describes the domestic occupation, social life, education, and role in government of women of varied classes.
When Katherine Konova, a radiant and talented Russian redhead, forsakes her figure skating medals for a career as a concert pianist, she falls for a charismatic but married conservatory professor in a life-changing relationship that will haunt her for years to come. From a family of poor factory workers, Katherine rises far above her station in life and moves to the United States with her successful-though-controlling husband, yet knowing in her heart that her soul mate is still out there. The Last Encore is an erotic tale of unspeakable passion, a sophisticated, timeless-but-modern romance laced with mysterious interconnections of love, conspiracy and fate.
A user-friendly guide to reading, writing, and theorizing autobiographical texts and practices for students, scholars, and practitioners of life narrative The boom in autobiographical narratives continues apace. It now encompasses a global spectrum of texts and practices in such media as graphic memoir, auto-photography, performance and plastic arts, film and video, and online platforms. Reading Autobiography Now offers both a critical engagement with life narrative in historical perspective and a theoretical framework for interpreting texts and practices in this wide-ranging field. Hailed upon its initial publication as “the Whole Earth Catalog of autobiography studies,” this essential book has been updated, reorganized, and expanded in scope to serve as an accessible and contemporary guide for scholars, students, and practitioners. Sidonie Smith and Julia Watson explore definitions of life narrative, probe issues of subjectivity, and outline salient features of autobiographical acts and practices. In this updated edition, they address emergent topics such as autotheory, autofiction, and autoethnography; expand the discussions of identity, relationality, and agency; and introduce new material on autobiographical archives and the profusion of “I”s in contemporary works. Smith and Watson also provide a helpful toolkit of strategies for reading life narrative and an extensive glossary of mini-essays analyzing key theoretical concepts and dozens of autobiographical genres. An indispensable exploration of this expansive, transnational, multimedia field, Reading Autobiography Now meticulously unpacks the heterogeneous modes of life narratives through which people tell their stories, from traditional memoirs and trauma narratives to collaborative life narrative and autobiographical comics.
This book posits that the ‘refugee crisis’ may actually be a crisis of identity in a rapidly changing world. It argues that Western conceptions of the individual ‘Self’ shape metaphors of political homes, and thus the geopolitics of belonging and exclusion. Metzger-Traber creatively re-conceives political belonging by perceiving the interconnection of each ‘Self’ through its most immediate home – the breathing body. On an experimental literary journey through her own past and that of Germany, she puts political philosophy in conversation with somatic and spiritual insight to expand notions of ‘Self’ and 'Home'. Then she asks: What ethical imperatives arise? What kinds of homes and homelands would we create if we no longer thought we ended at our skin?
In the 1950s, history teacher Julia Kathryn Garrett of Fort Worth began collecting stories from old-timers and pioneers whose memory or knowledge reached back to the early days of the city. For fifteen summer vacations she worked from morning to night on her book, creating an anecdotal chronicle of the early years of the city that began as a fort on the Trinity River in 1849. She closed her history with events a quarter of a century later, when Fort Worth was poised on the edge of growth, ready to become a modern city with the 1876 arrival of the railroad. First published in 1972 and reprinted by TCU Press in 1996.
Simon Basset, the irresistible Duke of Hastings, has hatched a plan to keep himself free from the town's marriage-minded society mothers. He pretends to be engaged to the lovely Daphne Bridgerton. After all, it isn't as if the brooding rogue has any real plans to marry - though there is something about the alluring Miss Bridgerton that sets Simon's heart beating a bit faster. And as for Daphne, surely the clever debutante will attract some very worthy suitors now that it seems a duke has declared her desirable. But as Daphne waltzes across ballroom after ballroom with Simon, she soon forgets that their courtship is a complete sham. And now she has to do the impossible and keep herself from losing her heart and soul completely to the handsome hell-raiser who has sworn off marriage forever! For a limited time, discover Julia Quinn for only $1.99! Plus, dip into excerpts from new releases by Julia, Elizabeth Boyle, and Caroline Linden.
“Deliciously clever.” —Booklist on The Duke Not Taken Bold. Beautiful. Beguiling. It’s been over a year since Emma Clark’s no-good husband left on an expedition. The Countess of Dearborn has played the abandoned wife, but people are beginning to presume the earl is dead, which doesn't suit Emma at all. Emma likes being head of household in Albert’s absence and does her best to keep his family believing he is alive and well. She’s thirty years old and finally having some fun. If the earl is in fact dead, his family is waiting in the wings to swoop in and throw Emma out, leaving her destitute. Then along comes Luka Olivien, the Weslorian Earl of Marlaine. He’s traveled all the way from Egypt, duty-bound to return to the countess her deceased husband’s precious pocket watch—only to discover she doesn’t know he’s dead… Or does she? It’s hard to tell. Luka catches glimpses of the desperate vulnerability beneath the party girl exterior and can’t help being drawn into the beguiling countess’s ruse. A Royal Match Book 1: Last Duke Standing Book 2: The Duke Not Taken Book 3: The Viscount Who Vexed Me Book 4: An Inconvenient Earl
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.