While seventeenth-century London may immediately evoke images of Shakespeare and thatched roof-tops and nineteenth-century London may call forth images of Dickens and cobblestones, a popular conception of eighteenth-century London has been more difficult to imagine. In fact, the immense variety of textual traditions, metaphors, classical allusions, and contemporary contexts that eighteenth-century writers use to illustrate eighteenth-century London may make eighteenth-century London seem more strange and foreign to twenty-first-century readers than any of its other historical reincarnations. Indeed, "imagining" a familiar, unified London was precisely the task that occupied so many writers in London after the 1666 Fire decimated the City and the 1688 Glorious Revolution destabilized the English monarchy's absolute power. In the authoritative void created by these two events, writers in London faced not only the problem of how to guide readers' imaginations to a unified conception of London, but also the problem of how to govern readers whom they would never meet. Erik Bond argues that Restoration London's rapidly changing administrative geography as well as mid-eighteenth-century London's proliferation of print helped writers generate several strategies to imagine that they could control not only other Londoners but also their interior selves. As a result, Reading London encourages readers to respect the historical alterity or "otherness" of eighteenth-century literature while recognizing that these historical alternatives prove that our present problems with urban societies do not have to be this way. In fact, the chapters illustrate how eighteenth-century writers gesture towards solutions to problems that urban citizens now face in terms of urban terror, crime, policing, and communal conduct.

A study of London suburban-set writing, exploring the links between place and fiction. This book charts a picture of evolving themes and concerns around the legibility and meaning of habitat and home for the individual, and the serious challenges that suburbia sets for literature.

NATIONAL BESTSELLER • Real love . . . as seen on TV. A plus-size bachelorette brings a fresh look to a reality show in this razor-sharp, “divinely witty” (Entertainment Weekly) debut. “Effortlessly fun and clever . . . I found the tension impeccable . . . and that made my reading experience incredibly propulsive. Read it in a day and a half.”—Emily Henry, #1 bestselling author of Beach Read and The People We Meet on Vacation NAMED ONE OF THE BEST BOOKS OF THE YEAR BY Time • NPR • Marie Claire • Mashable Bea Schumacher is a devastatingly stylish plus-size fashion blogger who has amazing friends, a devoted family, legions of Insta followers—and a massively broken heart. Like the rest of America, Bea indulges in her weekly obsession: the hit reality show Main Squeeze. The fantasy dates! The kiss-off rejections! The surprising amount of guys named Chad! But Bea is sick and tired of the lack of body diversity on the show. Since when is being a size zero a prerequisite for getting engaged on television? Just when Bea has sworn off dating altogether, she gets an intriguing call: Main Squeeze wants her to be its next star, surrounded by men vying for her affections. Bea agrees, on one condition—under no circumstances will she actually fall in love. She’s in this to supercharge her career, subvert harmful beauty standards, inspire women across America, and get a free hot air balloon ride. That’s it. But when the cameras start rolling, Bea realizes things are more complicated than she anticipated. She’s in a whirlwind of sumptuous couture, Internet culture wars, sexy suitors, and an opportunity (or two, or five) to find messy, real-life love in the midst of a made-for-TV fairy tale. In this joyful, wickedly observant debut, Bea has to decide whether it might just be worth trusting these men—and herself—for a chance to live happily ever after.

Reading London in Wartime: Blitz, the People and Propaganda in 1940s Literature presents an expansive variety of writers and genres, including non-fiction and film approaches, to build a comprehensive social picture of the atmosphere during wartime London. From blitz and austerity to the nagging insistency of propaganda, this volume examines the representation of London in wartime and early post-war literature through each writer’s unique perspective on the pressures of 1940s city life. Exploring the use of London imagery, this book considers how literature redirects attention to individual, subjective experience at a time of enforced co-operation, uniformity and community. Unlike government information films and news broadcasts, which often used London to prop up prevailing clichés and stereotypes, and encouraged patriotic support for the war, literature had the freedom to express more recalcitrant truths. London writing of the 1940s was not a literature of opposition or dissent, but in offering more nuanced depictions of the period, it was a counterweight to propaganda and the general war temperament. In writing, the city becomes a more complex place, no longer the easy symbol of defiance and stoicism, of the shared sacrifice of ration book and war work.

Jack London’s stories of adventure in the early twentieth century captured the imagination of the American public. As he ventured around the United States and the globe, he documented his adventures through his writing. Through excerpts and critical analysis, readers will examine London’s most famous works (The Call of the Wild, “To Build a Fire”), which are dramatic and compelling stories of man versus nature and versus himself. Other works explore the human condition, particularly the plight of the poor and working class. An examination of the autobiographical nature of many of London’s stories gives the reader a unique insight into the interaction between a writer’s world and his work.

With Paddington 2 opening in theaters on January 12, this spectacular gift book helps readers discover Paddington's London with six pop-up scenes as featured in the movie! Full color. 10 1/8 x 12 13/16.