A married woman’s affair makes her reconsider the nature of love in this “beautiful, wise novel” (Edmund White). Maria Jameson is having an affair—a passionate, life-changing affair. Yet she wonders whether this has to mean an end to the love she shares with her husband. For answers to the question of whether it is possible to love two men at once, she reaches across the centuries to George Sand, the maverick French novelist. Immersing herself in the life of this revolutionary woman who took numerous lovers, Maria struggles with the choices women make, and wonders if women in the nineteenth century might have been more free, in some ways, than their twenty-first-century counterparts. As these two narratives intertwine—following George through her affair with Frédéric Chopin, following Maria through her affair with an Irish professor—this novel explores the personal and the historical, the demands of self and the mysteries of the heart. “This is not so much a story about having a love affair as it is a study of the nature of love itself. I was absolutely knocked out by it.” —Elizabeth Berg
The author of Becoming George Sand has crafted a “standout novel of a tested friendship . . . highlighted by fine prose and finely drawn characters” (Publishers Weekly). When her old friend Hannah doesn’t show up at her house in the south of France, everyone assumes that Claudia, who has known Hannah since their shared years at boarding school, will know where she is and what has happened. But as Claudia travels from the United States to France to help her friend’s husband and children conduct their search, she is forced to deal with her old jealousy of Hannah, as well as her own relationship in the present with her French lover, Alexandre. As events unfold, Claudia begins to wonder if Hannah and Alexandre may have had an affair and if that has something to do with Hannah’s mysterious disappearance. In this exquisitely written, Ferrante-esque novel the question of whether or not Hannah will come back becomes urgent and bewildering. And if she doesn’t return, what will the lives of her friends and family be without her?
A married woman’s affair makes her reconsider the nature of love in this “beautiful, wise novel” (Edmund White). Maria Jameson is having an affair—a passionate, life-changing affair. Yet she wonders whether this has to mean an end to the love she shares with her husband. For answers to the question of whether it is possible to love two men at once, she reaches across the centuries to George Sand, the maverick French novelist. Immersing herself in the life of this revolutionary woman who took numerous lovers, Maria struggles with the choices women make, and wonders if women in the nineteenth century might have been more free, in some ways, than their twenty-first-century counterparts. As these two narratives intertwine—following George through her affair with Frédéric Chopin, following Maria through her affair with an Irish professor—this novel explores the personal and the historical, the demands of self and the mysteries of the heart. “This is not so much a story about having a love affair as it is a study of the nature of love itself. I was absolutely knocked out by it.” —Elizabeth Berg
The author of Becoming George Sand has crafted a “standout novel of a tested friendship . . . highlighted by fine prose and finely drawn characters” (Publishers Weekly). When her old friend Hannah doesn’t show up at her house in the south of France, everyone assumes that Claudia, who has known Hannah since their shared years at boarding school, will know where she is and what has happened. But as Claudia travels from the United States to France to help her friend’s husband and children conduct their search, she is forced to deal with her old jealousy of Hannah, as well as her own relationship in the present with her French lover, Alexandre. As events unfold, Claudia begins to wonder if Hannah and Alexandre may have had an affair and if that has something to do with Hannah’s mysterious disappearance. In this exquisitely written, Ferrante-esque novel the question of whether or not Hannah will come back becomes urgent and bewildering. And if she doesn’t return, what will the lives of her friends and family be without her?
During the years leading up to her marriage with Leonard Woolf in 1912, the year in which she finished The Voyage Out and sent it to be published by her cousin at Duckworth’s, the future Virginia Woolf was teaching herself how to be a writer. While her brothers were sent first to private schools, then to Cambridge to be educated, Virginia Stephen and her sister Vanessa were informally educated at home. With this background, how did she know she was a writer? What were her struggles? How did she teach herself? What made Miss Stephen into the author Virginia Woolf? Miss Stephen’s Apprenticeship explores these questions, delving into Virginia Woolf ’s letters and diaries, seeking to understand how she covered the distance from the wistful “I only wish I could write,” to the almost casual statement, “the novels are finished.” These days, the trajectory of a writer very often starts with studying for an MFA. In Woolf ’s case, however, it’s instructive to ask: How did a great writer, who had no formal education, invent for herself the framework she needed for a writing life? How did she know what she had to learn? How did she make her own way? Novelist Rosalind Brackenbury explores these questions and others, and in the process reveals what Virginia Woolf can give to young writers today.
Contradicting common perception of them as mere footnotes in Tennyson's career, this book examines the influence of his strong-minded female forebears on the young poet and reveals that the women in Tennyson's family circle were prolific and engaging correspondents. Their letters, preserved in archives in Lincoln and for the most part unpublished, cast a unique light on the Tennyson family's interrelationships and the times in which they lived. Focusing on the letters and lives of four Tennyson women – the poet's paternal grandmother, Mary Tennyson (1753-1825), her daughters Elizabeth Russell (1776-1865) and Mary Bourne (1777-1864), and her daughter-in-law Frances Tennyson, later Tennyson d'Eyncourt (1787-1878) - this book includes extensive and annotated extracts from the women's letters, linked by narrative passages providing context and continuity. The case studies cover six decades, from the marriage of Mary Turner and George Tennyson in 1775 to the death of George Tennyson in 1835, with brief Afterwords touching on the women's final years.
Over six volumes this edited collection of pamphlets, government publications, printed ephemera and manuscript sources looks at the development of the first modern police force. It will be of interest to social and political historians, criminologists and those interested in the development of the detective novel in nineteenth-century literature. This is Volune 6 from Part II.
When Emily De Soto returns to Key West, working to help smuggle her husband, a Cuban political philosopher whom she hasn't seen in fourteen years, she falls in love with Harry, an apolitical sailor.
During the years leading up to her marriage with Leonard Woolf in 1912, the year in which she finished The Voyage Out and sent it to be published by her cousin at Duckworth’s, the future Virginia Woolf was teaching herself how to be a writer. While her brothers were sent first to private schools, then to Cambridge to be educated, Virginia Stephen and her sister Vanessa were informally educated at home. With this background, how did she know she was a writer? What were her struggles? How did she teach herself? What made Miss Stephen into the author Virginia Woolf? Miss Stephen’s Apprenticeship explores these questions, delving into Virginia Woolf ’s letters and diaries, seeking to understand how she covered the distance from the wistful “I only wish I could write,” to the almost casual statement, “the novels are finished.” These days, the trajectory of a writer very often starts with studying for an MFA. In Woolf ’s case, however, it’s instructive to ask: How did a great writer, who had no formal education, invent for herself the framework she needed for a writing life? How did she know what she had to learn? How did she make her own way? Novelist Rosalind Brackenbury explores these questions and others, and in the process reveals what Virginia Woolf can give to young writers today.
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.