In 1975, Mary Park, the only daughter of a wealthy and respected dynasty whose family accommodation is in Bloomsbury Square, London, is being driven beyond endurance by domestic and marital responsibilities, financial pressures and intellectual frustration. A separation from her philandering husband and the concern of her teenage daughter taking drugs occupy a large amount of her time. However, rumours, arriving from an unprincipled and grievous mathematician, a man desperate to redeem his own family heritage, informs her that her grandfather once built an extraordinary machine which offered the possibility of changing the entire world. Mary will need to confront her family's shadowy past and endure obscure and repugnant painful memories before she can unravel the mystery of what her mother used to call, 'Bleak House'.
BY THE AUTHOR SHORTLISTED FOR THE MAN BOOKER PRIZE INTRODUCED BY POLLY DEVLIN 'Psychologically sharp, socially knowing and closely knit' IRISH TIMES 'She was . . . marvellous' GUARDIAN 'A writer of genius' WALL STREET JOURNAL One glorious gothic mansion - Garonlea - and two rather different ladies who would be Queen . . . Lady Charlotte French-McGrath has successfully ruled over her family with a rod of iron until the arrival of Cynthia: beautiful, young, talented, selfish - and engaged to her son Desmond. When Cynthia enters the Jazz Age, on the surface her life passes in a whirl of hunting, drinking and romance. But the ghosts of Garonlea are only biding their time: they know the source of their power, a secret handed on from one generation to the next.
When Milly and Molly offer to spend a night in the barn with Bunty, they have no idea what is in store for them. This story teaches the value of care and consideration.
In The Anti-Heroine on Contemporary Television: Transgressive Women, Molly Brost explores the various applications and definitions of the term anti-heroine, showing that it has been applied to a wide variety of female characters on television that have little in common beyond their failure to behave in morally “correct” and traditionally feminine ways. Rather than dismiss the term altogether, Brost employs the term to examine what types of behaviors and characteristics cause female characters to be labeled anti-heroines, how those qualities and behaviors differ from those that cause men to be labeled anti-heroes, and how the label reflects society’s attitudes toward and beliefs about women. Using popular television series such as Jessica Jones, Scandal, and The Good Place, Brost acknowledges the problematic nature of the term anti-heroine and uses it as a starting point to study the complex women on television, analyzing how the broadening spectrum of character types has allowed more nuanced portrayals of women’s lives on television.
In a book that compares Virginia Woolf's writing with that of the novelist, actress, and feminist activist Elizabeth Robins (1862–1952), Molly Hite explores the fascinating connections between Woolf's aversion to women's "pleading a cause" in fiction and her narrative technique of complicating, minimizing, or omitting tonal cues. Hite shows how A Room of One's Own, Mrs. Dalloway, and The Voyage Out borrow from and implicitly criticize Robins's work. Hite presents and develops the concept of narrative tone as a means to enrich and complicate our readings of Woolf's modernist novels. In Woolf's Ambiguities, she argues that the greatest formal innovation in Woolf's fiction is the muting, complicating, or effacing of textual pointers guiding how readers feel and make ethical judgments about characters and events. Much of Woolf's narrative prose, Hite proposes, thus refrains from endorsing a single position, not only adding value ambiguity to the cognitive ambiguity associated with modernist fiction generally, but explicitly rejecting the polemical intent of feminist novelists in the generation preceding her own. Hite also points out that Woolf reconsidered her rejection of polemical fiction later in her career. In the unfinished draft of her "essay-nove;" The Pargiters, Woolf created a brilliant new narrative form allowing her to make unequivocal value judgments.
What will Milly and Molly find on the other side of the mountain? Another in the series where every story has a message with a value such as honesty, responsibility, tenacity, kindness, self-sufficiency, acceptance of difference, to name a few.
There is a message hiding in Milly and Molly's Christmas parcels. Another in the series where every story has a message with a value such as honesty, responsibility, tenacity, kindness, self-sufficiency, acceptance of difference, to name a few.
Who will be rewarded for finding Dad's missing sock? Another in the series where every story has a message with a value such as honesty, responsibility, tenacity, kindness, self-sufficiency, acceptance of difference, to name a few.
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