"June 9th.--Life takes on entirely new aspect, owing to astonishing and unprecedented success of minute and unpretentious literary effort, published last December, and--incredibly--written by myself. Reactions of family and friends to this unforeseen state of affairs most interesting and varied." (The Provincial Lady Goes Further) In continuation with the "The Diary of a Provincial Lady" this autographical work traces the further humorous account of the protagonist after receiving a large royalty check from her former book. E. M. Delafield (1890-1943) was a prolific English author who is best known for her largely autobiographical works like Zella Sees Herself, Provincial Lady Series etc. which look at the lives of upper-middle class Englishwomen.

Tuesday, 23rd 'Late nights do not suit me. Try to think I look interestingly haggard but have to admit that Unkempt Blowsiness is fitter description' Way before that city slicker, Bridget Jones, there was the Provincial Daughter -- an intelligent woman juggling too little money with too many kids in rural obscurity. In between taking deliveries of coal and attending ghastly provincial parties, our heroine makes tentative forays into the bright lights of London, seeking literary fame and fortune.

The second book of the saga of the Provincial Lady, this highly acclaimed and delightful novel is also written in the form of a diary by this woman living in a country house with her husband, two children, the children's French governess, Cook and a few assorted helpers. Now, she has to go to the big city, to London...

"She could never, looking backwards, remember a time when she had not known that a woman's failure or success in life depended entirely upon whether or not she succeeded in getting a husband" When in the company of a young man a dutiful daughter should immediately assume an air of fresh, sparkling enjoyment. She should not speak of "being friends" with him-a young man is either eligible or he is not-and never, but never, should she get herself talked about, for a young girl who does so is doomed. "Men may dance with her, or flirt with her, but they don't propose." It would be quite a coup for a girl to find a husband during her first season, but if, God forbid, three seasons pass without success, she must join the ranks of those sad women who are a great embarrassment to society and, above all, to their disappointed mothers . . . With such thoughts in mind, how can Monica fail to look forward to her first ball?

Reproduction of the original.

Im at a bit of an impasse here. I dont have spare copies of the books, so I cant be specific (ie delete pages xi, xii etc)! I simply cant do that. With regards to the prelim pages, thats rather similar. I sent two prelim pages for each title, which I can set out again if needed. One is a title page, and one is a copyright page. All I want is for premedia to delete the scored out pages, and insert my two in title page, copyright page order at the start of the book. Can you advise on how I can set this out so that they will accept this?

As mass media burgeoned in the years between the first and second world wars, so did another phenomenon—celebrity. Beginning in Hollywood with the studio-orchestrated transformation of uncredited actors into brand-name stars, celebrity also spread to writers, whose personal appearances and private lives came to fascinate readers as much as their work. Women, Celebrity, and Literary Culture between the Wars profiles seven American, Canadian, and British women writers—Dorothy Parker, Anita Loos, Mae West, L. M. Montgomery, Margaret Kennedy, Stella Gibbons, and E. M. Delafield—who achieved literary celebrity in the 1920s and 1930s and whose work remains popular even today. Faye Hammill investigates how the fame and commercial success of these writers—as well as their gender—affected the literary reception of their work. She explores how women writers sought to fashion their own celebrity images through various kinds of public performance and how the media appropriated these writers for particular cultural discourses. She also reassesses the relationship between celebrity culture and literary culture, demonstrating how the commercial success of these writers caused literary elites to denigrate their writing as "middlebrow," despite the fact that their work often challenged middle-class ideals of marriage, home, and family and complicated class categories and lines of social discrimination. The first comparative study of North American and British literary celebrity, Women, Celebrity, and Literary Culture between the Wars offers a nuanced appreciation of the middlebrow in relation to modernism and popular culture.