Popular Romances For The Times

#1 NEW YORK TIMES BESTSELLER • NOW A STARZ ORIGINAL SERIES Unrivaled storytelling. Unforgettable characters. Rich historical detail. These are the hallmarks of Diana Gabaldon’s work. Her New York Times bestselling Outlander novels have earned the praise of critics and captured the hearts of millions of fans. Here is the story that started it all, introducing two remarkable characters, Claire Beauchamp Randall and Jamie Fraser, in a spellbinding novel of passion and history that combines exhilarating adventure with a love story for the ages. One of the top ten best-loved novels in America, as seen on PBS’s The Great American Read! Scottish Highlands, 1945. Claire Randall, a former British combat nurse, is just back from the war and reunited with her husband on a second honeymoon when she walks through a standing stone in one of the ancient circles that dot the British Isles. Suddenly she is a Sassenach—an “outlander”—in a Scotland torn by war and raiding clans in the year of Our Lord . . . 1743. Claire is catapulted into the intrigues of a world that threatens her life, and may shatter her heart. Marooned amid danger, passion, and violence, Claire learns her only chance of safety lies in Jamie Fraser, a gallant young Scots warrior. What begins in compulsion becomes urgent need, and Claire finds herself torn between two very different men, in two irreconcilable lives. This eBook includes the full text of the novel plus the following additional content: • An excerpt from Diana Gabaldon’s Dragonfly in Amber, the second novel in the Outlander series • An interview with Diana Gabaldon • An Outlander reader’s guide Praise for Outlander “Marvelous and fantastic adventures, romance, sex . . . perfect escape reading.”—San Francisco Chronicle “History comes deliciously alive on the page.”—New York Daily News

A BuzzFeed Best Romance of 2021! Sparks fly when a runaway heiress bargains with a devilish rogue to escape a marriage of convenience. No one would guess that beneath Violet Crenshaw's ladylike demeanor lies the heart of a rebel. American heiresses looking to secure English lords must be on their best behavior, but Violet has other plans. She intends to flee London and the marriage her parents have arranged to become a published author--if only the wickedly handsome earl who inspired her most outrageously sinful character didn't insist on coming with her. Christian Halston, Earl of Leigh, has a scheme of his own: escort the surprisingly spirited dollar princess north and use every delicious moment in close quarters to convince Violet to marry him. Christian needs an heiress to rebuild his Scottish estate but the more time he spends with Violet, the more he realizes what he really needs is her--by his side, near his heart, in his bed. Though Christian's burning glances offer unholy temptation, Violet has no intention of surrendering herself or her newfound freedom in a permanent deal with the devil. It's going to take more than pretty words to prove this fortune hunter's love is true....

Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

A 2019 Stiletto Contest FinalistI knew the rules.Never reveal my true identity.Play the game, give the illusion.Don't get close to the clients.The dark and glamorous lifestyle of the rich and shameless open my eyes to a lavish world of sin and wealth, and a man I can't have.A man I desperately want-James Riviera.We're treading a fine line as we live the ultimate double life until we make a startling discovery that tests both our loyalties.I only had to follow the rules, but rules are meant to be broken.

Time travel romance is not the same thing as sci-fi romance, though some stories may be set in an imagined future; it is romantic fiction set in various different eras, usually from around the sixteenth to the eighteenth centuries. A woman may fall asleep in Central Park in the present to wake up in the arms of a Scottish laird in the sixteenth century. The Mammoth Book of Time Travel Romance contains 25 stories of adventure and love; settings include medieval Scotland, sixteenth-century England, the nineteenth-century 'Wild West'. Some stories are set in the present and a few in the future. Stories include an Elizabethan nobleman whisked into the present day, a troubled young woman who lands in the sixteenth century able to break a curse of lost love. Includes stories from: Nina Bangs, Jude Deveraux, Sandra Hill, Linda Howard, Lynn Kurland, Karen Marie Moning, and many more.

The people we love are thieves.They steal our hearts.They steal our breath.They steal our sanity.And we let them. Over and over and over again.They say you never forget your first love. Mine was a homeless musician who wandered straight into my soul.Blue was my first everything. And fourteen years later, I still can't get him out of my head.He broke all my rules. He also broke my heart.I watched him climb to stardom, cheering him on from afar. But I was never a fan; just a girl in love.Like a tornado, he spiraled, leaving a path of destruction in his wake. But love conquers all, right? It has to. Because if there's one thing I'm sure of, it's that we love each other endlessly.When he came back into my life asking for another chance - armed with apologies, promises, and new beginnings - I couldn't have been happier.I thought I knew everything about him. But I was wrong. Blue was fighting an internal battle I never saw coming.He promised me every tomorrow. And here I am - holding on to hopes, dreams, and the healing power of love.* Authors Note: No Tomorrow will take you on a rollercoaster of emotions but has a guaranteed happily ever after.

Widely heard and read throughout the middle ages, romance literature has persisted for centuries and has lately re-emerged in the form of speculative fiction, inviting readers to step out of the actual world and experience the intriguing pleasure of possibility. Medieval Romance is the first study to focus on the deep philosophical underpinnings of the genre’s fictional worlds. James F. Knapp and Peggy A. Knapp uniquely utilize Leibniz’s “possible worlds” theory, Kant’s aesthetic reflections, and Gadamer’s writings on the apprehension of language over time, to bring the romance genre into critical dialogue with fundamental questions of philosophical aesthetics, modal logic, and the hermeneutics of literary transmission. The authors’ compelling and illuminating analysis of six instances of medieval secular writing, including that of Marie de France, the Gawain-poet, and Chaucer demonstrates how the extravagantly imagined worlds of romance invite reflection about the nature of the real. These stories, which have delighted readers for hundreds of years, do so because the impossible fictions of one era prefigure desired realities for later generations.

In this book, Marijane Osborn translates into modern English nine lively medieval verse romances, in a form that both reflects the original and makes the romances inviting to a modern audience. All nine tales contain elements of magic: shapeshifters, powerful fairies, trees that are portals to another world, and enchanted clothing and armor. Many of the tales also feature powerful women characters, while others include representations of “Saracens.” The tales address issues of enduring interest and concern, and also address sexuality, agency, and identity formation in unexpected ways.