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Critically acclaimed author of The Ashes Trilogy, Ilsa J. Bick takes her new Dark Passages series to an alternative Victorian London where Emma Lindsay continues to wade through blurred realities now that she has lost everything: her way, her reality, her friends. In this London, Emma will find alternative versions of her friends from the White Space and even Arthur Conan Doyle. Emma Lindsay has nowhere to go. Her friends are dead. Eric and Casey are lost to the Dark Passages. Emma commands the cynosure, a device that allows for safe passage between the Many Worlds, to put her where she might find her friends again. But Emma wakes up in the body of Little Lizzie, all grown up. And in this alternative Victorian London, Elizabeth McDermott is mad. Elizabeth's physician, Dr. Kramer, has drugged her to allow Emma—who's blinked to this London before—to emerge as the dominant personality. Elizabeth is dying, and if Emma can't find a way out, everyone as they exist in this London will die with her.
The cultural ideal of motherhood in Victorian Britain seems to be undermined by Victorian novels, which almost always represent mothers as incapacitated, abandoning or dead. Carolyn Dever argues that the phenomenon of the dead or missing mother in Victorian narrative is central to the construction of the good mother as a cultural ideal. Maternal loss is the prerequisite for Victorian representations of domestic life, a fact which has especially complex implications for women. When Freud constructs psychoanalytical models of family, gender and desire, he too assumes that domesticity begins with the death of the mother. Analysing texts by Dickens, Collins, Eliot, Darwin and Woolf, as well as Freud, Klein and Winnicott, Dever argues that fictional and theoretical narratives alike use maternal absence to articulate concerns about gender and representation. Psychoanalysis has long been used to analyse Victorian fiction; Dever contends that Victorian fiction has much to teach us about psychoanalysis.
For over five hundred years the Russians wondered what kind of people their Arctic and sub-Arctic subjects were. "They have mouths between their shoulders and eyes in their chests," reported a fifteenth-century tale. "They rove around, live of their own free will, and beat the Russian people," complained a seventeenth-century Cossack. "Their actions are exceedingly rude. They do not take off their hats and do not bow to each other," huffed an eighteenth-century scholar. They are "children of nature" and "guardians of ecological balance," rhapsodized early nineteenth-century and late twentieth-century romantics. Even the Bolsheviks, who categorized the circumpolar foragers as "authentic proletarians," were repeatedly puzzled by the "peoples from the late Neolithic period who, by virtue of their extreme backwardness, cannot keep up either economically or culturally with the furious speed of the emerging socialist society."Whether described as brutes, aliens, or endangered indigenous populations, the so-called small peoples of the north have consistently remained a point of contrast for speculations on Russian identity and a convenient testing ground for policies and images that grew out of these speculations. In Arctic Mirrors, a vividly rendered history of circumpolar peoples in the Russian empire and the Russian mind, Yuri Slezkine offers the first in-depth interpretation of this relationship. No other book in any language links the history of a colonized non-Russian people to the full sweep of Russian intellectual and cultural history. Enhancing his account with vintage prints and photographs, Slezkine reenacts the procession of Russian fur traders, missionaries, tsarist bureaucrats, radical intellectuals, professional ethnographers, and commissars who struggled to reform and conceptualize this most "alien" of their subject populations.Slezkine reconstructs from a vast range of sources the successive official policies and prevailing attitudes toward the northern peoples, interweaving the resonant narratives of Russian and indigenous contemporaries with the extravagant images of popular Russian fiction. As he examines the many ironies and ambivalences involved in successive Russian attempts to overcome northern—and hence their own—otherness, Slezkine explores the wider issues of ethnic identity, cultural change, nationalist rhetoric, and not-so European colonialism.
Sixteen-year-old Penny Sparks needed a job and a knight in shining armor. She didn't expect to get both of them quite so literally. Now working the summer at Dragon's Brackens renaissance festival and enjoying a flirtation with one of the dazzlingly handsome show jousters, she thought her life had become exciting enough. She's about to walk in on her boss, a humble mirror artist, doing something not quite normal. Not quite human, even. Because as it turns out, the owner of Morgan's Mirrors is a Fay... Morgan le Fay. And with her cover blown, she's now demanding Penny's help hiding from an evil wizard and a secret order of knights that have hunted her through the ages. She's willing to compensate Penny for her time with magic. Even so, what she's asking is way above Penny's pay grade. Keywords: teen teenage ya young adult paranormal mystery family secrets coming of age fantasy supernatural adventure strong female lead girl power book novel story urban contemporary colorado metaphysical visionary rivalry arthurian legend morgan le fay merlin rennaissance festival renaissance summer job magic sorcery witch wizard enchantment curse fae fairy fairies romance love camelot excalibur lancelot
Placing the works of Charles Dickens and Walter Benjamin in conversation with one another, Gillian Piggott argues that the two writers display a shared vision of modernity. Her analysis of their works shows that both writers demonstrate a decreased confidence in the capacity to experience truth or religious meaning in an increasingly materialist world and that both occupy similar positions towards urban modernity and its effect upon experience. Piggott juxtaposes her exploration of Benjamin's ideas on allegory and messianism with an examination of Dickens's The Old Curiosity Shop, arguing that both writers proffer a melancholy vision of a world devoid of space and time for religious experience, a state of affairs they associate with the onset of industrial capitalism. In Benjamin's The Arcades Project and Dickens's Sketches by Boz and Tale of Two Cities, among other works, the authors converge in their hugely influential treatments of the city as a site of perambulation, creativity, memory, and autobiography. At the same time, both authors relate to the vertiginous, mutable, fast-paced nature of city life as involving a concomitant change in the structure of experience, an alteration that can be understood as a reduction in the capacity to experience fully. Piggott's persuasive analyses enable a reading of Dickens as part of a European, particularly a German, tradition of thinkers and writers of industrialization and modernity. For both Dickens and Benjamin, truth appears only in moments of revelation, in fragments of modernity.
"[A] delightful hot toddy of a winter's read." —LA TIMES It was the best of times, it was the worst of crimes in this delightful Dickensian romp, with the canonical author teaming up with a famous upstart to solve a devilish murder. In Victorian London, Charles Dickens and his protege, the renowned author Wilkie Collins, make the acquaintance of the shrewdest mind either would ever encounter: Inspector William Field of the newly formed Metropolitan Protectives. A gentleman's brutal murder brings the three men together in an extraordinary investigation that leads Dickens to the beautiful young actress Ellen Ternan. Almost immediately, she becomes the love of his life. But first, Dickens must protect her from the noose, as she is the main suspect.