When Cornelia Greystock received a proposal from Sir James Hawkston, she couldn’t bear it. It had been inspired, she knew, from pity and remorse—not love. Unable to face him afterward, she leaped at an offer of employment from the Countess, Lady Du’Breven. Serving as her companion, Cornelia struggles to adjust to the change in her social status, but the hard work distracts her from her broken heart. That is, until the Countess decides to hold a summer house party at her family estate and invites Sir James. Sir James has never recovered from his disappointment when Miss Greystock refused his proposal and then fled. When he grudgingly accepts an invitation to Lady Du’Breven’s house party, however, he is astounded to find Miss Greystock there. One thing is certain—this time he’ll court her the way he always should have. He is almost certain she returns his feelings, but he must tread carefully. If she refuses his proposal a second time, it would not be gentlemanly to ask a third. As time grows short and she continues to hold him at arms-length, will he find a way to at last win her hand?

This book reveals subversive representations of gender, race and class in detective dime novels (1860-1915), arguing that inherent tensions between subversive and conservative impulses—theorized as contamination and containment—explain detective fiction's ongoing popular appeal to readers and to writers such as Twain and Faulkner.

Seek tirelessly and you shall not find a contemporary heroine of middle-grade literature as refined and romantic as Miss Polly Madassa. Still swooning over the romantic conclusions of Pride ? Polly must find a match for Mr. Fisk. And while she's at it, it wouldn't hurt to find Clementine, Polly's teenaged sister, a beau worthy of her (so she can shed that brute, Clint). Polly's plans are in full swing, so she definitely cannot be bothered by the advances of classmate Brad Barker. But maybe Polly should have turned her attention to Miss Austen's Emma next, because she quickly learns the pitfalls of playing matchmaker. How will Polly patch up her own relationships, while ensuring that destined love can take its course?

Jack the Ripper. Jeffrey Dahmer. John Wayne Gacy. Locusta of Gaul. If that last name doesn’t seem to fit with the others, it’s likely because our modern society largely believes that serial killers are a recent phenomenon. Not so, argues Debbie Felton—in fact, there’s ample evidence to show that serial killers stalked the ancient world just as they do the modern one. Felton brings this evidence to light in Monsters and Monarchs, and in doing so, forces us to rethink assumptions about serial killers arising from the decadence of modern society. Exploring a trove of stories from classical antiquity, she uncovers mythological monsters and human criminals that fit many serial killer profiles: the highway killers confronted by the Greek hero Theseus, such as Procrustes, who torture and mutilate their victims; the Sphinx, or “strangler,” from the story of Oedipus; child-killing demons and witches that could explain abnormal infant deaths; and historical figures such as Locusta of Gaul, the most notorious poisoner in the early Roman Empire. Redefining our understanding of serial killers and their origins, Monsters and Monarchs changes how we view both ancient Greek and Roman society and the modern-day killers whose stories still captivate the public today.

Rori Bloom demonstrates that Marie-Catherine d’Aulnoy (1652–1705) and Henriette-Julie de Murat (1670–1716) changed the stakes of the fairy tale: instead of inviting their readers to marvel at the magic that changes rags to riches, they enjoined them to acknowledge the skill that transforms raw materials into beautifully made works of art.

This is a book about how Molière, France's most celebrated author of comedies, made something strikingly new out of the traditional comedy plot of thwarted courtship. Though justly celebrated for his mastery of physical comedy and farce, one of Molière's key moves was to pay attention to the way women could use language. Seventeenth-century France was a time when speaking well became exceptionally important, and in this arena women were the trend-setters. Among the most important places to display taste and social skills were the salons, gatherings presided over by women. Yet women still enjoyed little in the way of rights, particularly regarding a central decision in their lives: the choice of a husband. French regulations of marriage contracts became increasingly restrictive, largely to the detriment of women. To draw attention to their plight, women novelists and essayists presented case studies in how men and women misunderstood one another, how women were coerced to wed, how marriages could become nightmares, and how courtships could fail. Against this fraught social background Molière showed women using one of the few assets they had, their mastery of words, and in particular the rhetoric of irony, to frustrate the plans of fathers, guardians, and other authority figures. The comedies discussed here include very well-known plays such as The Misanthrope, Tartuffe, The Learned Ladies, The School for Wives and Don Juan, and also less known but revealing and thought-provoking works such as The School for Husbands, George Dandin and Monsieur de Pourceaugnac.