Heroic Disobedience: The Forced Marriage Plot and the British Novel, 1747-1880' shows the ways in which eighteenth- and nineteenth-century novels used what the author terms the forced marriage plot - a plot arc in which a greedy father tries to force his daughter into a marriage she does not want but that would be financially expedient to himself - to explore capitalism’s detrimental impacts on women’s right to autonomy. As capitalist economic practices replaced mercantilism, a woman’s value was seen primarily in the economic sense. That is, men came to recognize that women – especially young, marriageable women – could be used as objects of exchange between men. Recognizing this phenomenon, the novelists considered in 'Heroic Disobedience' – Samuel Richardson, Charlotte Lennox, Mary Robinson, Charlotte Smith, Jane Austen, Charles Dickens, Elizabeth Stone, and Anthony Trollope – depict the very specific ways in which women were raised to become willing pawns in this system. Religious discourse, conduct guides, marriage and property laws, wages, lack of meaningful education, and inheritance practices combined to leave women with no other options besides dependence on their patriarchs. Importantly, authors who use the forced marriage plot go beyond exposing women’s subjugation by creating – and celebrating – heroically disobedient heroines who believe, above all else, that they have the right to determine their own futures: futures in which they are autonomous agents, not subjected objects.
Heroic Disobedience: The Forced Marriage Plot and the British Novel, 1747-1880' shows the ways in which eighteenth- and nineteenth-century novels used what the author terms the forced marriage plot - a plot arc in which a greedy father tries to force his daughter into a marriage she does not want but that would be financially expedient to himself - to explore capitalism’s detrimental impacts on women’s right to autonomy. As capitalist economic practices replaced mercantilism, a woman’s value was seen primarily in the economic sense. That is, men came to recognize that women – especially young, marriageable women – could be used as objects of exchange between men. Recognizing this phenomenon, the novelists considered in 'Heroic Disobedience' – Samuel Richardson, Charlotte Lennox, Mary Robinson, Charlotte Smith, Jane Austen, Charles Dickens, Elizabeth Stone, and Anthony Trollope – depict the very specific ways in which women were raised to become willing pawns in this system. Religious discourse, conduct guides, marriage and property laws, wages, lack of meaningful education, and inheritance practices combined to leave women with no other options besides dependence on their patriarchs. Importantly, authors who use the forced marriage plot go beyond exposing women’s subjugation by creating – and celebrating – heroically disobedient heroines who believe, above all else, that they have the right to determine their own futures: futures in which they are autonomous agents, not subjected objects.
WHEN THE MOON TURNS TO BLOOD examines the culture of end times paranoia and a trail of mysterious deaths surrounding former beauty queen Lori Vallow and her husband, grave digger turned doomsday novelist, Chad Daybell. When police in Rexburg, Idaho perform a wellness check on seven J.J. Vallow and his sister, sixteen-year-old Tylee Ryan, both children are nowhere to be found. Their mother, Lori Vallow, gives a phony explanation, and when officers return the following day with a search warrant, she, too, is gone. As the police begin to close in, a larger web of mystery, murder, fanaticism and deceit begins to unravel. Vallow’s case is sinuously complex. As investigators prod further, they find the accused Black Widow has an unusual number of bodies piling up around her. WHEN THE MOON TURNS TO BLOOD tells a gripping story of extreme beliefs, snake oil prophets, and explores the question: if it feels like the world is ending, how are people supposed to act?
Falling in love is the ultimate faux pas. Anything can happen in a year! Unemployed, homeless, and left at the altar, Vivia Perpetua Grant could see her future as a flannel pajama wearing spinster—or worse, a bag lady shuffling around Golden Gate Park. But for a girl obsessed with rock music, Chinese take-out, and the color pink, misfortune is another word for opportunity. Vivia has found her niche as an international travel writer and the long-distance lover of Jean-Luc de Caumont, an über-hot French literature professor and competitive cyclist. Still, even with so much going right, Vivia can’t help but wonder if something isn’t missing. The long distance thing is taking its toll on a girl who didn’t have that many tokens to begin with. And fate seems to be tempting her at every turn, first with a hunky Scottish helicopter pilot, and then with a British celebrity bad boy...Will Vivia continue to keep it real or will she discover some old habits die hard? “Leah Marie Brown has a wily way of bringing her stories to life with sharp dialogue and drop-dead sexy characters.” —Cindy Miles, National Bestselling Author “Prepare to laugh, to sigh, to turn pages fast! I want a one-way ticket to Vivia's world.” —Kieran Kramer, USA Today Bestselling Author “A funny, romantic, fast-paced, all-expense-paid pleasure read through France and Tuscany you don't want to miss.”—Gretchen Galway, Bestselling Author on Faking It “When it comes to crafting clever, intelligent, wonderful escapist fiction with a heroine every woman wants to know, Leah Marie Brown is a new voice to watch. Prepare to fall in love!” —Renee Ryan, Daphne du Maurier Award-Winning Author “Audacious, adorable and addictive!” —Catherine Mann, USA Today bestselling author
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