Havisham

There was a delicate tracery of gold foil on the back of the dress. How strange that such a consummately made garment should be worn for this one day only. But, as every girl growing up understood, her wedding day was the most significant she would know: a woman's crowning glory. Catherine Havisham was born into privilege. Handsome, imperious, she is the daughter of a wealthy brewer, and lives in luxury in Satis House. But she is never far from the smell of hops and the arresting letters on the brewhouse wall - HAVISHAM. A reminder of all she owes to the family name and the family business. Sent by her father to stay with the Chadwycks, Catherine discovers literature, music and masquerades - elegant pastimes to remove the taint of new money. But for all her growing sophistication Catherine is anything but worldly, and when a charismatic stranger pays her attention, everything - her heart, her future, the very Havisham name - is vulnerable. It is a masterly tribute to one of Dickens's most celebrated and iconic characters

Playbook.

Two-time Academy Award winner Sir David Lean (1908–1991) was one of the most prominent directors of the twentieth century, responsible for the classics The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), and Doctor Zhivago (1965). British-born Lean asserted himself in Hollywood as a major filmmaker with his epic storytelling and panoramic visions of history, but he started out as a talented film editor and director in Great Britain. As a result, he brought an art-house mentality to blockbuster films. Combining elements of biography and film criticism, Beyond the Epic: The Life and Films of David Lean uses screenplays and production histories to assess Lean’s body of work. Author Gene D. Phillips interviews actors who worked with Lean and directors who knew him, and their comments reveal new details about the director’s life and career. Phillips also explores Lean’s lesser-studied films, such as The Passionate Friends (1949), Hobson’s Choice (1954), and Summertime (1955). The result is an in-depth examination of the director in cultural, historical, and cinematic contexts. Lean’s approach to filmmaking was far different than that of many of his contemporaries. He chose his films carefully and, as a result, directed only sixteen films in a period of more than forty years. Those films, however, have become some of the landmarks of motion-picture history. Lean is best known for his epics, but Phillips also focuses on Lean’s successful adaptations of famous works of literature, including retellings of plays such as Brief Encounter (1945) and novels such as Great Expectations (1946), Oliver Twist (1948), and A Passage to India (1984). From expansive studies of war and strife to some of literature’s greatest high comedies and domestic dramas, Lean imbued all of his films with his unique creative vision. Few directors can match Lean’s ability to combine narrative sweep and psychological detail, and Phillips goes beyond Lean’s epics to reveal this unifying characteristic in the director’s body of work. Beyond the Epic is a vital assessment of a great director’s artistic process and his place in the film industry.

In this remarkable study, Gail Turley Houston examines the rich interplay of consumption as alimental process, medical entity, psychological construct, and economic practice in order to explore Charles Dickens’s fictional representations of Victorian culture as he presents it in his novels. Drawing from medical, historical, economic, psychoanalytic, and biographical materials from the Victorian period, Houston anchors her work in the belief that if class and gender are fictional constructions, real people’s lives are affected in complex and coercive ways by such constructions. Proceeding chronologically, Houston traces particular patterns throughout ten of Dickens’s major novels: The Pickwick Papers, Oliver Twist, The Old Curiosity Shop, Martin Chuzzlewit, Dombey and Son, David Copperfield, Bleak House, Little Dorrit, Great Expectations, and Our Mutual Friend. Houston maintains that Victorian codes of behavior prescribed for gender and class regarding sexual and alimental appetites were so extreme and complicated that numerous consequent eating disorders and related diseases developed. Ideologies about consumption translated into medically defined consumptions, such as anorexia. Using anorexia and its etiology as representative of an underlying cultural dynamics of consumption, Houston examines anorexia as a deep structure of the Victorian period. Further, consumption as economic process is reflected in the expansion of individual material desires at the expense of the designated body politic. In other words, extravagant consumption occurs in society only if certain groups—usually consisting of lower-class men and women and, in Dickens’s novels, women in general—are severely limited in their consumption. To support her approach, Houston turns to Rita Felski’s Beyond Feminist Aesthetics, agreeing with Felski’s argument that it is necessary to recognize the complex dialectics that take place between the individual and society. Not only does culture construct human beings, but human beings also construct culture. Felski’s theory aids Houston in emphasizing that Dickens not only influenced but was also greatly influenced by the Victorian dynamics of consumption. In fact, Houston argues that while Dickens dismantles Victorian ideologies about class and hunger by demonstrating the unnaturalness of expecting one class to starve so that another might gluttonize, he nevertheless accepts and perpetuates the Victorian identification of woman as the self-sacrificing, always-nurturing "angel in the house" without need of nurture herself. This extraordinary book will appeal to literary scholars, as well as to scholars in the social sciences, history, humanistically oriented medicine, and women’s studies.

Willa returns in this new stand-alone novel in the WEDDING PLANNER'S DAUGHTER series.Willa returns in this new adventure for the tween set! It is summer on Cape Cod, where Willa Havisham and Joey Kennelly are enjoying their status as most compatible couple. What does the summer hold? New friends, more books, lazy afternoons, and of course Willa will be busy planning more weddings with her mother, Stella Havisham, the Cape's most famous wedding planner to date!

A literary scholar who is an adult adoptee delves into one of the enduring themes of literature--the child raised by other parents

Women in Victorian England wore jewelry made from each other's hair and wrote poems celebrating decades of friendship. They pored over magazines that described the dangerous pleasures of corporal punishment. A few had sexual relationships with each other, exchanged rings and vows, willed each other property, and lived together in long-term partnerships described as marriages. But, as Sharon Marcus shows, these women were not seen as gender outlaws. Their desires were fanned by consumer culture, and their friendships and unions were accepted and even encouraged by family, society, and church. Far from being sexless angels defined only by male desires, Victorian women openly enjoyed looking at and even dominating other women. Their friendships helped realize the ideal of companionate love between men and women celebrated by novels, and their unions influenced politicians and social thinkers to reform marriage law. Through a close examination of literature, memoirs, letters, domestic magazines, and political debates, Marcus reveals how relationships between women were a crucial component of femininity. Deeply researched, powerfully argued, and filled with original readings of familiar and surprising sources, Between Women overturns everything we thought we knew about Victorian women and the history of marriage and family life. It offers a new paradigm for theorizing gender and sexuality--not just in the Victorian period, but in our own.

Four ground-breaking plays that explore the complex relationship between England and India over more than a century, weaving together personal and political narratives. The Waiting Room: Priya Banerjee is dead, but her life is far from over. She has just three days left to roam the earth before she can go on to the 'Waiting Room' of spirits. As she reluctantly watches and listens to her family, Priya is guided by a droll and increasingly impatient immortal soul in the guise of her Bollywood idol, Dilip Kumar. Great Expectations: Relocating Pip's extraordinary journey to nineteenth-century India, this coming-of-age story, evoking some of Dickens' most colourful characters, is faithful to the period of the book and the richness of Dickens' language – a vivid theatrical retelling of a universally loved masterpiece. The Empress: It is the Jubilee! Queen Victoria's Golden Jubilee, 1887. At Tilbury Docks, Rani and Abdul step ashore after the long voyage from India. One has to battle a society who deems her a second-class citizen, the other forges an astonishing entanglement with the ageing Queen who finds herself enchanted by stories of an India she rules but has never seen. Lions and Tigers: Based on the true story of Tanika Gupta's great uncle and freedom fighter Dinesh Gupta, the play charts the Dinesh's emotional and political awakening as this extraordinary 19-year-old pits himself against the British Raj. Winner of the James Tait Black Award in 2018.