A Regency-era romantic comedy with a deliciously feminist and queer twist, from the New York Times bestselling author of Gwen …
& Art Are Not in Love.There’s a new governess at Fairmont House, and she’s going to be nothing but trouble.Emily Laurence is a liar. She is not polite, she’s not polished, and she has never taught a child in her life. This position was meant to be her sister’sbrilliant, kind Amy, who isn’t perpetually angry, dangerously reckless, and who does (inexplicably) like children.But Amy is unwell and needs a doctor, and their father is gone and their mother is useless, so here Emily is, pretending to be something she’s not.If she can get away with her deception for long enough to earn a few month’s wages and slip some expensive trinkets into her pockets along the way, perhaps they’ll be all right.That is, as long as she doesn’t get involved with the Edwards family’s dramas. And she certainly hasn’t noticed her employer, the brooding, taciturn Captain Edwards, no matter how good he might look without a shirt on . . .As Fairmont House draws her in, Emily’s lies start to come undone. Can she fix her mistakes before it’s too late?
The Merchant Witch
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… (Show full summary) merchant’s caravan. But the job’s more complicated than it seems.Em’s fairy father is hunting them, and Em’s trying not to draw attention by using magic. Their client, Lady Caris, has demanded that Em stay in a simple single-gendered human form and not shapeshift — and Aric can see his partner growing more uncomfortable day by day.On top of that, their client’s hiding a magical secret . and a dangerous enemy.
Sometimes heroic swordsmen need money. So Aric and his half-fairy partner Emrys have accepted a job protecting a wealthy cloth …
Emily refuses to care about her charges – Grace, who talks too much and loves too hard, and Aster, who is frankly terrifying but might just be the wittiest sixteen-year-old Emily has ever met – or the servants, who insist on acting as if they’re each other’s family
merchant’s caravan. But the job’s more complicated than it seems.Em’s fairy father is hunting them, and Em’s trying not to draw attention by using magic. Their client, Lady Caris, has demanded that Em stay in a simple single-gendered human form and not shapeshift — and Aric can see his partner growing more uncomfortable day by day.On top of that, their client’s hiding a magical secret . and a dangerous enemy.
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… (Show full summary) novels ever written about Brazil. Indeed, its great popularity, realistic descriptions, archetypal situations, detailed local coloring, and overall race-consciousness erican equivalent. Yet Azevedo also exhibits the naturalism of Zola and the ironic distance of Balzac; while tragic, beautiful, and imaginative as a work of fiction, The Slum is universally regarded as one of the best, or truest, portraits of Brazilian society ever rendered. This is beautiful Manado women a vivid and complex tale of passion and greed, a story with many different strands touching on the different economic tiers of society. Mainly, however, The Slum thrives on two intersecting story lines. In one narrative, a penny-pinching immigrant landlord strives to become a rich investor and then discards his black lover for a wealthy white woman. In the other, we witness the innocent yet dangerous love affair between a strong, pragmatic, “gentle giant” sort of immigrant and a vivacious mulatto woman who both live in a tenement owned by said landlord. The two immigrant heroes are originally Portuguese, and thus personify two alternate outsider responses to Brazil. As translator David H. Rosenthal points out in his useful Introduction: one is the capitalist drawn to new markets, quick prestige, and untapped resources; the other, the prudent European drawn moth-like to “the light and sexual heat of the tropics.” A deftly told, deeply moving, and hardscrabble novel that features several stirring passages about life in the streets, the melting-pot realities of the modern city, and the oft-unstable mind of the crowd, The Slum will captivate anyone who might appreciate a more poetic, less political take on the nineteenth-century naturalism of Crane or Dreiser.
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