Tom, an American boy, loves the tulips that come from Holland. One day he finds a note from a little Dutch girl wrapped around a tulip. He answers her note and dreams of her. He meets Jan, the Dutch girl's brother, who has come to America, and hires him as his gardener. Katrina, the little Dutch girl finally comes to America and meets Tom.

Take Mary Jane too? asked Mrs. Merrill thoughtfully. "Why, yes, I guess we could. I'll tell you what we will do, girls. We'll watch and wait and see what the weather is by Friday noon. If it continues fine and warm for two days, as it is to-day, I really believe we could have a picnic. Of course the girls understand that it would be a 'start in the morning' picnic? It's too early in the season for late afternoon picnics."

A sensual tale of art, lust, and deception—now a major motion picture In 1630s Amsterdam, tulipomania has seized the populace. Everywhere men are seduced by the fantastic exotic flower. But for wealthy merchant Cornelis Sandvoort, it is his young and beautiful wife, Sophia, who stirs his soul. She is the prize he desires, the woman he hopes will bring him the joy that not even his considerable fortune can buy. Cornelis yearns for an heir, but so far he and Sophia have failed to produce one. In a bid for immortality, he commissions a portrait of them both by the talented young painter Jan van Loos. But as Van Loos begins to capture Sophia's likeness on canvas, a slow passion begins to burn between the beautiful young wife and the talented artist. As the portrait unfolds, so a slow dance is begun among the household’s inhabitants. Ambitions, desires, and dreams breed a grand deception—and as the lies multiply, events move toward a thrilling and tragic climax. In this richly imagined international bestseller, Deborah Moggach has created the rarest of novels—a lush, lyrical work of fiction that is also compulsively readable. Seldom has a novel so vividly evoked a time, a place, and a passion. Praise for Tulip Fever “Sumptuous prose . . . reads like a thriller.”—The New York Times Book Review “An artful novel in every sense of the word . . . deftly evokes seventeenth-century Amsterdam’s vibrant atmosphere.”—Los Angeles Times “Need a brief escape into a beautiful and faraway world? Deborah Moggach’s wonderful Tulip Fever can offer you that.”—New York Post “Taut with suspense and unexpected revelations.”—Entertainment Weekly “Elegantly absorbing.”—The Philadelphia Inquirer

A Feminist Reader in Early Cinema marks a new era of feminist film scholarship. The twenty essays collected here demonstrate how feminist historiographies at once alter and enrich ongoing debates over visuality and identification, authorship, stardom, and nationalist ideologies in cinema and media studies. Drawing extensively on archival research, the collection yields startling accounts of women's multiple roles as early producers, directors, writers, stars, and viewers. It also engages urgent questions about cinema's capacity for presenting a stable visual field, often at the expense of racially, sexually, or class-marked bodies. While fostering new ways of thinking about film history, A Feminist Reader in Early Cinema illuminates the many questions that the concept of "early cinema" itself raises about the relation of gender to modernism, representation, and technologies of the body. The contributors bring a number of disciplinary frameworks to bear, including not only film studies but also postcolonial studies, dance scholarship, literary analysis, philosophies of the body, and theories regarding modernism and postmodernism. Reflecting the stimulating diversity of early cinematic styles, technologies, and narrative forms, essays address a range of topics—from the dangerous sexuality of the urban flâneuse to the childlike femininity exemplified by Mary Pickford, from the Shanghai film industry to Italian diva films—looking along the way at birth-control sensation films, French crime serials, "war actualities," and the stylistic influence of art deco. Recurring throughout the volume is the protean figure of the New Woman, alternately garbed as childish tomboy, athletic star, enigmatic vamp, languid diva, working girl, kinetic flapper, and primitive exotic. Contributors. Constance Balides, Jennifer M. Bean, Kristine Butler, Mary Ann Doane, Lucy Fischer, Jane Gaines, Amelie Hastie, Sumiko Higashi, Lori Landay, Anne Morey, Diane Negra, Catherine Russell, Siobhan B. Somerville, Shelley Stamp, Gaylyn Studlar, Angela Dalle Vacche, Radha Vatsal, Kristen Whissel, Patricia White, Zhang Zhen

"Then are we really going?" asked Mary Jane eagerly. "To Boston and Harvard and Uncle Hal's Class Day and everything?" added Alice. Mr. and Mrs. Merrill looked at each other and then at the long letter in Mrs. Merrill's hand. "I do believe we are," said Mrs. Merrill thoughtfully. "That's right!" approved Mr. Merrill heartily. "You'll never regret it. I am sure the girls are old enough to remember the interesting sights they will see and they may never have another chance to go to Harvard Class Day and all the 'doings' Hal writes about." "And then," added Mrs. Merrill, "I always promised brother Hal I'd come when he graduated. One doesn't have a 'baby brother' graduate from Harvard every summer. Though I would like it better if you could go too." "Sure you can't, Dad"? asked Alice, wistfully.

A little girl seeks to regain her father's attention during the tulipomania craze in seventeenth-century Holland.