An urgent, illuminating exploration of the social nature of shame and of how it might be used to promote large-scale political change and social reform. “[Jacquet] exposes the ways shame plays into collective ideas of punishment and reward, and the social mechanisms that dictate the ways we dictate our behavior.” —The Boston Globe Examining how we can retrofit the art of shaming for the age of social media, Jennifer Jacquet shows that we can challenge corporations and even governments to change policies and behaviors that are detrimental to the environment. Urgent and illuminating, Is Shame Necessary? offers an entirely new understanding of how shame, when applied in the right way and at the right time, has the capacity to keep us from failing our planet and, ultimately, from failing ourselves.

Adventuress and opportunist, Ethelberta reinvents herself to disguise her humble origins, launching a brilliant career as a society poet in London with her family acting incognito as her servants. Turning the male-dominated literary world to her advantage, she happily exploits the attentions of four very different suitors. Will she bestow her hand upon the richest of them, or on the man she loves? Ethelberta Petherwin, alias Berta Chickerel, moves with easy grace between her multiple identities, cleverly managing a tissue of lies to aid her meteoric rise. In The Hand of Ethelberta (1876), Hardy drew on conventions of popular romances, illustrated weeklies, plays, fashion plates and even his wife's diary in this comic story of a woman in control of her destiny.

Life and background - Writing, publication and initial critical reception of Tess - Summaries and critical commentary - What the novel is about.

THOMAS HARDY'S TESS OF THE D'URBERVILLES A detailed and incisive analysis of Thomas Hardy's classic 1891 novel, using the latest research in feminism, gay, lesbian and queer theory, and cultural studies. Illustrated. Bibliogaphy. Notes. www.crmoon.com Margaret Elvy offers a thorough reappraisal of Thomas Hardy's favourite heroine. Elvy incorporates much of recent Hardy criticism, in which Hardy has been reappraised in the light of materialist, psychoanalytic, gender, poststructuralist and feminist criticism. Tess of the d'Urbervilles is a novel of anger, a text which rages against time, God, industrialization, and social institutions such as marriage, Chrisianity, the Church, law and education. What does Tess Durbeyfield do that is 'wrong'? Thomas Hardy explains in the book: ' s]he had been made to break an accepted social law, but no law known to the environment in which she fancied herself such an anomaly.' Tess is forced, or is led, or falls into a complex situation by circumstances, confusions, innocence (or ignorance), bad communication and desire. She is 'made' to break 'an accepted social law': it is the same with Eustacia Vye in The Return of the Native, and Sue Bridehead in Jude the Obscure. Somehow, their very existence means transgressions will occur. Tess Durbeyfield transgresses society, goes against grain. She (unwittingly perhaps) places herself outside of society and the law. She learns that there are different kinds of laws, different sets of laws for different groups of people. She has to learn about social boundaries, and how to keep inside of limits. As it's a dramatic novel, Tess learns the hard way. She is seen to be transgressive. The education system fails her utterly, her mother and family also fail to protect her. Though she is proud of her education, it fails her utterly. A note in the Life, Hardy's autobiography, is usually cited in relation to Tess of the d'Urbervilles: ' w]hen a married woman who has a lover kills her husband, she does not really wish to kill her husband; she wishes to kill the situation.' The tragedy of Tess of the d'Urbervilles has been seen as a socio-economic destruction (Arnold Kettle); the result of commercial forces, in the Marxist model (Raymond Williams); the decline of the rural order (John Alcorn, Roger Ebbatson, Merryn Williams); the waste of human potential (Irving Howe); due to the sexual manipulation of two men (feminist critics such as Penny Boumelha, Kate Millett and Rosalind Sumner); or due to the heroine's own moral inadequacies (Roy Morrell); or as the breaking of social taboos (J. Lecercle), and so on.

Includes a brief biography of the author, thematic and structural analysis of the work, critical views, and an index of themes and ideas.

Two best friends, one summer night, and twenty years of silence ... what happened at the lighthouse? The stunning, haunting new novel from the author of The Lost Summers of Driftwood. Sylvie is a lover of words and a collector of stories, only she has lost her own. She has no words for that night at the lighthouse when their lives changed forever. What happened to cleave her apart from her best friend and soulmate, Kase? Sylvie yearns to rekindle their deep connection, so when Kase invites her to the wild Tasmanian coast to celebrate her 40th birthday, she accepts - despite the ghosts she must face. As Sylvie struggles to find her feet among old friends, she bonds with local taxi boat driver Holden. But he is hiding from the world, too. Through an inscription in an old book, Sylvie and Kase discover their mothers have a history, hidden from their daughters. As they unpick what took place before they were born, they're forced to face the rift in their own friendship, and the question of whether it's ever okay to keep a secret to protect the person you love. Vanessa McCausland's enthralling new novel is about betrayal and forgiveness, the stories we tell, and the healing power of words. 'This evocative novel completely captivated me and I didn't want it to end. Vanessa McCausland is a remarkable storyteller.' Petronella McGovern 'Vanessa McCausland doesn't disappoint! Lyrical and evocative, the trauma and emotion rises off the pages along with the salt spray and the haunting cries of the eagles.' Fiona Lowe 'McCausland's poetic writing makes the heart sing. Graceful and glorious.' Alexandra Joel 'Reading a Vanessa McCausland book is like indulging in fine dark chocolate - her writing is decadent, dark, complex and luxurious. In this book she takes her lyricism to a new level, reveling in the power of words and stories to both heal and harm.' Cassie Hamer 'Rich with atmosphere and moral conflicts, The Beautiful Words sensitively explores the intricacies of two generations bound by secrets, with McCausland's trademark, hauntingly lyrical prose. It's a gifted storyteller that keeps me up way past my bedtime, but once again, I found myself unable to put Vanessa McCausland's novel down.' Maya Linnell 'Intriguing ... The Beautiful Words is a compelling story in a uniquely Australian setting for fans of Hannah Richell or Emily Bitto.' Books + Publishing 'Breathtaking ... Rich with atmosphere and written in haunting, melodic prose, The Beautiful Words is a powerful and timely work of fiction that celebrates the importance of female friendship and women's voices. Ultimately, though, it is a tale of healing, and a love letter to words and the power of storytelling.' Better Reading 'A clever and wonderful book' Herald Sun