Author's Note: This work is CLEAN. Novette Kagen walked away from the man she loved and the comfortable life she knew. She lived beneath the radar for five years until her dad's right hand man found her. With Zaid Sutherland's return into her life, Novette is reminded of how much she loves him. While she learns that Zaid loves her as much as she loves him, the reasons she left home are still a wall between them. Novette's dad wants to control her life like he controls everything and everyone around him. He's ruthless and won't see reason. Novette wants to run again with Zaid, but Zaid is loyal to her dad. Zaid protects a secret that could destroy Novette's world. After Novette is almost killed because of her dad's work, Zaid must make a move. But how can they build a life together when there is no way forward? Keywords: Interracial romance, multicultural romance, contemporary romance, clean romance, wholesome romance

First privately published in the United States in 1920 and ruthlessly reviewed on both sides of Atlantic, “Women in Love” remains one of the most provoking novels of this century. Largely because it defies single-mindedness or dogmatic preconceptions, the text has consistently thwarted the critics in their attemps at “nailing it dow”. The present collection of essays sets out to explore how the novel keeps “walking away with the nail”, as Lawrence himself wrote in “Morality and the Novel”.

An insightful, provocative, and witty exploration of the relationship between motherhood and art—for anyone who is a mother, wants to be, or has ever had one. What does a great artist who is also a mother look like? What does it mean to create, not in “a room of one’s own,” but in a domestic space? In The Baby on the Fire Escape, award-winning biographer Julie Phillips traverses the shifting terrain where motherhood and creativity converge. With fierce empathy, Phillips evokes the intimate and varied struggles of brilliant artists and writers of the twentieth century. Ursula K. Le Guin found productive stability in family life, and Audre Lorde’s queer, polyamorous union allowed her to raise children on her own terms. Susan Sontag became a mother at nineteen, Angela Carter at forty-three. These mothers had one child, or five, or seven. They worked in a studio, in the kitchen, in the car, on the bed, at a desk, with a baby carrier beside them. They faced judgement for pursuing their creative work—Doris Lessing was said to have abandoned her children, and Alice Neel’s in-laws falsely claimed that she once, to finish a painting, left her baby on the fire escape of her New York apartment. As she threads together vivid portraits of these pathbreaking women, Phillips argues that creative motherhood is a question of keeping the baby on that apocryphal fire escape: work and care held in a constantly renegotiated, provisional, productive tension. A meditation on maternal identity and artistic greatness, The Baby on the Fire Escape illuminates some of the most pressing conflicts in contemporary life.

Organised around each decade of the post war period, this book analyses novels written by and for women from 1945 to the present. Each chapter identifies a specific genre in popular fiction for women which marked that period and provides case studies focusing on writers and texts which enjoyed a wide readership. Despite their popularity, these novels remain largely outside the 'canon' of women's writing, and are often unacknowledged by feminist literary criticism. However, these texts clearly touched a nerve with a largely female readership, and so offer a means of charting the changes in ideals of femininity, and in the tensions and contradictions in gender identities in the post-war period. Their analysis offers new insights into the shifting demands, aspirations and expectations of what a woman could and should be over the last half century. Through her analysis of women's writing and reading, Philips sets out to challenge the distinction between 'popular' and 'literary' fiction, arguing that neat categories such as 'popular', 'middle brow' and 'serious fiction' need more careful definition.

Now in its second edition and with new chapters covering such texts as Elizabeth Gilbert's Eat, Pray, Love and 'yummy mummy' novels such as Allison Pearson's I Don't Know How She Does It, this is a wide-ranging survey of popular women's fiction from 1945 to the present. Examining key trends in popular writing for women in each decade, Women's Fiction offers case study readings of major British and American writers. Through these readings, the book explores how popular texts often neglected by feminist literary criticism have charted the shifting demands, aspirations and expectations of women in the 20th and 21st centuries.

Awbry James was stoked to get the promotion to manager of Breckon House. The bar wasn’t hers, but she loved working there. Not to mention enjoying the sexy view of her boss’ identical brother Merrick. He’s always happy, always joking, and always looked good enough to eat. Awbry’s got her hands full trying to decide what to do about her financial troubles. She’s buried under a mountain of debt left over from her father’s illness. She’s wondering if she should take some of the burden off and marry her ex, or if she should look for someone new. The last thing Awbry expects is to have Merrick come on to her. He’s out of her league, but the offer to become lovers is too tempting. Things turn bad when her brother brings danger to her doorstep and threatens both her safety and her job. Merrick swoops in to protect her, but Awbry’s used to standing alone. The stubborn man won’t stop trying to be her knight. At this rate, she’s going to fall in love. But what’s going to happen when her mistakes come to light? Will Merrick step up, or will he turn his back on her broken heart? **interracial romance, multicultural romance, contemporary romance, erotic romance, bwwm**