A prequel to Jane Austen's 'Emma' - come and visit Highbury.

In this contemporary romcom retelling of Jane Austen’s Emma by USA TODAY bestselling author Jillian Cantor, there’s nothing more complex—or unpredictable—than love. When math genius Emma and her coding club co-president, George, are tasked with brainstorming a new project, The Code for Love is born. George disapproves of Emma’s idea of creating a matchmaking app, accusing her of meddling in people’s lives. But all the happy new couples at school are proof that the app works. At least at first. Emma’s code is flawless. So why is it that perfectly matched couples start breaking up, the wrong people keep falling for each other, and Emma’s own feelings defy any algorithm?

Two years after Emma Woodhouse married Mr Knightley and they have settled into loving, if not quite passionate, matrimony; Emma is bored. To amuse herself, Emma decides to take up matchmaking again, whether her husband will have it or not. But this time Emma is playing for dangerously high stakes. Recently widowed John Knightley, her brother-in-law, is in need of a wife, so when a fascinating French woman enters Highbury society, Emma sees a golden opportunity. Eliza d'Arblay is of French aristocrat whose parents fled the French Revolution. Beautiful, intriguing and romantic, Emma deems her to be the perfect match for John. But as Eliza charms Highbury society, John isn't the only one who falls deeply in love with her...a passion awakes in Emma that she never would have expected.

"If you ever wished that you could read a book that combines the wit of Jane Austen with the plotting of Jane Austen, then you are in for a treat: The Highbury Murders does exactly this."--P. 4 of cover.

What better place than pale England to hide a secret society of gentlemen vampires? In this hilarious retelling of Jane Austen's Emma, screenwriter Wayne Josephson casts Mr. Knightley as one of the most handsome and noble of the gentlemen village vampires. Blithely unaware of their presence, Emma, who imagines she has a special gift for matchmaking, attempts to arrange the affairs of her social circle with delightfully disastrous results. But when her dear friend Harriet Smith declares her love for Mr. Knightley, Emma realizes she's the one who wants to stay up all night with him. Fortunately, Mr. Knightley has been hiding a secret deep within his unbeating heart—his (literal) undying love for her... A brilliant mash-up of Jane Austen and the undead.

Emma was the last novel that Jane Austen published while alive. In it, she tells us about the adventures of Emma Woodhouse, a young English woman raised in a wealthy family who not only does not have the slightest intention of getting married, but also insists on being a matchmaker for her circle of friends. In particular, for her protégé Harriet Smith. Emma's advice produces all kinds of misunderstandings and embarrassing situations, which translates into a fun work that, two centuries after its appearance, continues to delight readers.

In attempting to conceptualize feminine subjectivity beyond the familiar paradigm of dualism and within the parameters of ethics, this study examines the political and intellectual identity of contemporary poststructuralist feminism and its profound resonance with the nineteenth-century British female Bildungsroman. Rooted in fundamental questions about the nexus between feminist theory and feminist literature, genre and gender, subjectivity and ethics, sexuality and textuality, and mimesis and politics, this book aims specifically to configure feminine subjectivity in the horizon of becoming - always incomplete, non-identarian, performative, unknowable, and thus paradoxically unbecoming - as it disseminates in a modality of alterity in novels by Jane Austen, Charlotte Brontë, and George Eliot. The close reading of major novels by these women writers illuminates the artistic density and ethical depth of their writing by demonstrating that these women writers rewrite the genealogy of subjectivity and invent their own Bildungsroman as a rich narrative vehicle for the feminine.