In Regency England Mrs Thorne's School for Young Ladies is about to close due to the death of young Clarissa's mother a year ago.This leaves eighteen-year-old Clarissa Thorne and her three school mistress friends no option but to return to the bosom of their families as despised 'poor relations' - at everyone's beck and call for all their lives. But Clarissa has just inherited Ashcroft, a large crumbling estate, and she offers her companions an escape - run away with her to a life of independence and adventure. They must put the estate to rights with little money and less experience. Can sensible Miss Micklethwaite, aging romantic Miss Appleby and the beautiful Miss Oriana Petersham escape their fate? To keep the vivacious, impulsive Clarissa in check they must at least try. However, their relatives may have other plans. Meeting the Earl of Grandiston and his companion (a devotee of the divine Oriana) on the road sets hilarious events in motion. Perhaps to adventure the ladies must add romance... Lovers of Georgette Heyer and Jane Austen will enjoy a return to lighthearted comic romance.
Working at the crossroads of contemporary geographical and cultural theory, the book explores how social spaces function as sites which foreground D. H. Lawrence and Virginia Woolf's critiques of the social order and longings for change. Looking at various social spaces from homes to nations to utopian space brought into the here and now the book shows the ways in which these writers criticize and deconstruct the contemporary symbolic, physical, and discursive spatial topoi of the dominant socio-spatial order and envision a more liberating and inclusive human geography. In addition, the book calls for the need to redress the tendency of some spatial theories to underestimate the political potential of literary discourse about space, instead of simply and mechanically appropriating some theoretical concepts to literary criticism. One of the central findings in the book, therefore, is that literary texts can perform subversive interventions in the production of social space through their critical interaction with dominant spatial codes.
Though the relationship of modernist writers and artists to mass-marketplaces and popular cultural forms is often understood as one of ambivalence if not antagonism, Modernism and the Marketplace redirects this established line of inquiry, considering the practical and conceptual interfaces between literary practice and dominant economic institutions and ideas.
Take two beautiful sisters, who resemble each other, plus three eligible suitors and you have a sparkling romance.. When the eligible Mr Allison is to come to Fenton Manor to woo Honoria, there is a problem. She doesn't remember what he looked like. Crippled by her timidity, she hardly looked at him when they'd met during her first London season. But he had spoken to her father, determined to ask her for her hand. Her siblings, Serena and Benedict find this highly amusing, but after Honoria overhears a conversation between her parents about their finances she realises she must marry Mr Allison, and this constraint leaves her martyred and unhappy and unable to share her feelings. When Mr Allison arrives, there is another problem. One to do with her sister Serena. Mr Allison, (annoyingly handsome and kind) fails to propose as expected and leaves abruptly - but invites the confused family to stay at Bassington Hall, his own country home. His kindness to all her family leaves Honoria with no legitimate excuse to escape marriage. Mr Scribster, his ill-favoured, unpleasant, unfeeling friend, guesses more than she would like and offers Honoria a place to concentrate her dislike and frustration. Meanwhile Benedict embarks on an adventure with his rogue of an uncle, Wilbert, to save his childhood friend and neighbour Genevieve Horton who has become the unhappy Lady Sumner. By learning some scandalous skills Benedict hopes to give some options to the most trapped figure in all of polite society - an unhappy wife. When Benedict's life hangs in the balance all the major players are changed forever and the tangle of romance is finally resolved. Alicia Cameron's first novel, Clarissa and the Poor Relations, has been highly regarded, reaching the **top ten** in historical romance on **Amazon.com** (with 90 reviews), and** #1 in Amazon.fr.** It is newly available in a Spanish translation.What people say about Alicia Cameron's previous novel:(Alicia Cameron) is **'a worthy successor to Georgette Heyer'****'Full of wit and imagination'****'...an authentic Regency voice'****'Definitely felt like reading Jane Austen'****'An episode of Friends set in the 1800s'****'Wouldn't we all like to be invited?'****'Full of wit and romance like an old, old, movie directed by Preston Sturges.'****'A witty, light-hearted cross between Georgette Heyer and Oscar Wilde!'**