Banks (1870–1938) was an ambitious young American journalist (born in New Jersey, raised in Wisconsin) who worked as a typist and reporter in Baltimore, then took the unlikely post of secretary to the American Ambassador in Peru, before coming to London to seek her fortune. She achieved her goal admirably in 1894 with a form of 'stunt journalism' that had first been practised by James Greenwood, who dressed in rags and presented himself as a 'casual' pauper to the parish authorities, writing up his experience in his sensational article 'A Night in a Workhouse'. Banks, very much a late nineteenth-century 'New Woman', likewise decided to go 'undercover' amongst the poor — first as a servant, then in several other positions, masquerading as a crossing sweeper, laundress and, at the opposite end of the social spectrum, pretending to be an heiress, to see how easy it might be to buy one's way into the aristocratic upper echelons of London 'Society'. Banks's ploy was successful and the resulting articles became the talk of the capital — and guaranteed her a future career in journalism. Her own autobiography records the words of the Pall Mall Gazette ... 'Her strange, wild and curious adventures are the common theme of conversation in thousands of English homes ...' and, although Banks's subterfuge may not seem 'wild' to modern readers, it remains striking. It was the impersonation of a servant which caused the greatest furore, not least the fear that the upstart young American was promoting a very un-British egalitarian agenda, one sympathetic to the complaints of servants against mistresses, undermining the normal healthy relations between the classes. In fact, the book provides a rather too convenient comparison of two households — the first where the employer exploits and over-works her staff, the second where the cook and maids have the whip-hand over an overly timid and caring mistress. Banks herself, however, had no great political agenda. She confesses frankly in her autobiography that 'I did it for "copy" ... to earn my living'.Such was the interest in Banks's work, that the press sought out the employers who were fooled by the artful reporter. 'Mrs. Allison' (not her real name) was interviewed by the populist Pick Me Up magazine and declared herself 'completely hoodwinked'. She claimed, however, that she only employed Miss Banks because of the pathetic story she told at interview about her penury, and that — contrary to the impression in the book — the cleanliness of her household suffered a good deal due to the reporter's ignorance. Mrs. Allison recounts how she knew there was trouble when her other maid informed her, 'Ma'am, the new housemaid's sweeping the stairs with a bonnet whisk!' In short, according to Mrs. Allison, her American employee 'did not hesitate to declare herself as competent and reliable, although she entered every house under false pretences without being able to sew on a button, darn a stocking, or scrub a floor'.Banks's success was so great because her deception played on the existing fears of the middle- and upper-classes about servants, i.e. that, when members of the family were not present, staff were incompetent and/or deceptive — traitors beneath one's own roof — even if this only amounted to taking unwarranted 'perquisites' from household groceries, or seeing male 'followers'. Whether Miss Banks provides us with a completely truthful account or 'journalistic gingerbread' (to quote the rather unsympathetic Pick Me Up) I must leave it to the reader to judge — regardless, the book remains a fascinating read.

    One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

    Ally (older sister of May in Night Waking), is intelligent, studious and engaged in an eternal - and losing - battle to gain her mother's approval and affection. Her mother, Elizabeth, is a religious zealot, keener on feeding the poor and saving prostitutes than on embracing the challenges of motherhood. Even when Ally wins a scholarship and is accepted as one of the first female students to read medicine in London, it still doesn't seem good enough. The first in a two-book sequence, Bodies of Light will propel Sarah Moss into the upper echelons of British novelists. It is a triumphant piece of historical fiction and a profoundly moving master class in characterisation.

    When the 8th Earl of Staton dies, his eldest son, the unreliable Richard, inherits the title and the family’s home—Hembry Castle. The Earl's niece, the American-born Daphne, is intrigued by Edward Ellis, a rising author with a first-hand knowledge of Hembry Castle—from the servants’ hall. And Edward, though captivated by the lovely Daphne, has his own hurdles he must overcome. Can Richard come to terms with his title before bringing ruin on his family? Will Edward and Daphne find their way to each other despite the obstacles of life at Hembry Castle? When It Rained at Hembry Castle is a page-turning, romantic novel with vivid characters and an engrossing story that will keep you guessing until the end.

    Hailed by the New York Times as "one of the most influential texts in gender studies, men's studies and gay studies," this book uncovers the homosocial desire between men, from Restoration comedies to Tennyson's Princess.

    Losing her mother at a young age and never knowing who her father was forced her to be raised by her older brother, Ramone. Ramone did the best he could to keep his sister on the straight and narrow but, when he gets locked up, he leaves his sister to fend for herself. Neicey meets Le’Lani and they form an unwavering friendship. However, Neicey’s life changes forever when she is introduced to Mykell, Le’Lani’s older brother. She falls head over heels for Mykell but what she doesn’t know is he comes with some extra baggage! Will Neicey be able to handle Mykell and all of his drama and be his Official Girl, or will they be forced to go their separate ways in the end?

    Carole Silver here draws on sources ranging from the anthropological, folkloric, and occult to the legal, historical, and medical. She is the first to anatomize a world peopled by strange beings who have infiltrated both the literary and visual masterpieces and the minor works of the writers and painters of that era.Examining the period of 1798 to 1923, Strange and Secret Peoples focuses not only on such popular literary figures as Charles Dickens and William Butler Yeats, but on writers as diverse as Thomas Carlyle, Arthur Conan Doyle, and Charlotte Mew; on artists as varied as mad Richard Dadd, Aubrey Beardsley, and Sir Joseph Noel Paton; and on artifacts ranging from fossil skulls to photographs and vases. Silver demonstrates how beautiful and monstrous creatures--fairies and swan maidens, goblins and dwarfs, cretins and changelings, elementals and pygmies--simultaneously peopled the Victorian imagination and inhabited nineteenth-century science and belief. Her book reveals the astonishing complexity and fertility of the Victorian consciousness: its modernity and antiquity, its desire to naturalize the supernatural, its pervasive eroticism fused with sexual anxiety, and its drive for racial and imperial dominion.

    In a remote and crumbling New England mansion, 12-year-old orphan Florence is neglected by her guardian uncle and banned from reading. Left to her own devices she devours books in secret and talks to herself - and narrates this, her story - in a unique language of her own invention. By night, she sleepwalks the corridors like one of the old house's many ghosts and is troubled by a recurrent dream in which a mysterious woman appears to threaten her younger brother Giles. Sometimes Florence doesn't sleepwalk at all, but simply pretends to so she can roam at will and search the house for clues to her own baffling past.After the sudden violent death of the children's first governess, a second teacher, Miss Taylor, arrives, and immediately strange phenomena begin to occur. Florence becomes convinced that the new governess is a vengeful and malevolent spirit who means to do Giles harm. Against this powerful supernatural enemy, and without any adult to whom she can turn for help, Florence must use all her intelligence and ingenuity to both protect her little brother and preserve her private world.Inspired by and in the tradition of Henry James' s The Turn of the Screw, Florence & Giles is a gripping gothic page-turner told in a startlingly different and wonderfully captivating narrative voice.

    She charts the struggles between spiritualists and the medical and legal establishments over the issue of female mediumship, and provides new insights into the gendered dynamics of Victorian society.

    Rives

    Now, in this spellbinding historical novel, we meet the young girl whose bright spirit sent her on an unforgettable trip down the rabbit hole–and the grown woman whose story is no less enthralling.But oh my dear, I am tired of being Alice in Wonderland. Does it sound ungrateful?Alice Liddell Hargreaves’s life has been a richly woven tapestry: As a young woman, wife, mother, and widow, she’s experienced intense passion, great privilege, and greater tragedy. But as she nears her eighty-first birthday, she knows that, to the world around her, she is and will always be only “Alice.” Her life was permanently dog-eared at one fateful moment in her tenth year–the golden summer day she urged a grown-up friend to write down one of his fanciful stories.That story, a wild tale of rabbits, queens, and a precocious young child, becomes a sensation the world over. Its author, a shy, stuttering Oxford professor, does more than immortalize Alice–he changes her life forever. But even he cannot stop time, as much as he might like to. And as Alice’s childhood slips away, a peacetime of glittering balls and royal romances gives way to the urgent tide of war. For Alice, the stakes could not be higher, for she is the mother of three grown sons, soldiers all. Yet even as she stands to lose everything she treasures, one part of her will always be the determined, undaunted Alice of the story, who discovered that life beyond the rabbit hole was an astonishing journey.A love story and a literary mystery, Alice I Have Been brilliantly blends fact and fiction to capture the passionate spirit of a woman who was truly worthy of her fictional alter ego, in a world as captivating as the Wonderland only she could inspire.

    In her acceptance speech, she said, "I have avenged my ancestors."Goose Lane Editions is proud to re-issue this classic of Acadian literature to mark the 400th anniversary of the founding of Acadie and the début of the novel's musical adaptation, Pélagie: An Acadian Odyssey. Directed by Michael Shamata, the musical brings together the words and lyrics of Vincent de Tourdonnet and music by Allen Cole. It will be presented at the Atlantic Theatre Festival in Wolfville, Nova Scotia, from July 27 to August 22, following successful runs at CanStage's Bluma Appel Theatre in Toronto and The National Arts Centre in Ottawa.This funny, lyrical account of a daring Acadian widow's journey home from exile is the Mother Courage of Acadian literature. At thirty-five, Pélagie is a survivor of the Great Disruption of 1755, when British soldiers deported Acadians who had farmed along the Bay of Fundy for generations. Splitting up families, the soldiers tossed men, women, and children pell-mell into ships and dispatched them to ports all along the eastern seaboard of the US and to Louisiana. When it was heard years later that the British would tolerate their return to Acadie, thousands loaded possessions and children onto handcarts and set out on foot. After fifteen years of working as a slave in the cotton fields of Georgia, Pélagie, too, has had enough. Drawn home as if by a magnet, inspired by her love of her family and of Beausoleil, a heroic sea captain, and determined to outrace the "Wagon of Death," Pélagie sets off to take her people on a 3,000-mile trek back to their homeland. Her single cart, pulled by six oxen, soon attracts scattered Cormiers and LeBlancs, Landrys and Poiriers, Maillets and Légers. Together, this caravan of colourful Acadians undertakes a ten-year journey up the Atlantic coast to their childhood homes.

    A potter's assistant by day and dress lodger by night, Gustine sells herself for necessity in a rented gown, scrimping to feed and protect her only love: her fragile baby boy. She holds a glimmer of hope after meeting Dr. Henry Chiver, a prisoner of his own dark past. But in a world where suspicion of medicine runs rampant like a fever, these two lost souls will become irrevocably linked, as each crosses lines between rich and destitute, decorum and abandon, damnation and salvation. By turns tender and horrifying, The Dress Lodger is a captivating historical thriller charged with a distinctly modern voice. . . .

     Deftly mixing fact and fiction, Kelly O'Connor McNees returns to the summer of 1855, when vivacious Louisa May Alcott is twenty-two and bursting to free herself from family and societal constraints and do what she loves most. Stuck in small-town New Hampshire, she meets Joseph Singer, and as she opens her heart, Louisa finds herself torn between a love that takes her by surprise and her dream of independence as a writer in Boston. The choice she must make comes with a steep price that she will pay for the rest of her life.

    Lily is quickly drawn to her mistress’s gaiety and sharp intelligence, the power of her poetry, and her deep emotional need. It is a strange intimacy that will last sixteen years.It is Lily who smuggles Miss Barrett out of the gloomy Wimpole Street house, witnesses her secret wedding to Robert Browning in an empty church, and flees with them to threadbare lodgings and the heat, light, and colors of Italy. As housekeeper, nursemaid, companion, and confidante, Lily is with Elizabeth in every crisis – birth, bereavement, travel, literary triumph. As her devotion turns almost to obsession, Lily forgets her own fleeting loneliness. But when Lily’s own affairs take a dramatic turn, she comes to expect the loyalty from Elizabeth that she herself has always given.