Scandalous Fictions

This study re-examines the twentieth-century novel as a form shaped by its problematic, often scandalous relation to the public sphere. Discussing ten texts against the challenges of their milieus, it considers twentieth-century fiction as a tradition of transgression, perennially caught between license and licentiousness, erudition and sedition.

Riven by world wars and cold wars, atrocities and genocides, the twentieth century was also one of sexual, cultural and ideological revolutions, each inscribed across the fictions it produced. This fascinating new collection of original essays re-examines the twentieth-century novel as a form shaped by its problematic, often scandalous relation to the public sphere. Such iconic texts were crucial in negotiating a public space and voice for fiction in the twentieth century, repositioning their readers and challenging popular notions of privacy and probity. Leading contributors consider ten novels that changed readers' lives as well as public perceptions of the purpose of fiction: The Satanic Verses, Lady Chatterley's Lover, Beloved, On The Road, Disgrace, Ulysses, The Well of Loneliness, A Man of the People, Native Son, and The Hand that Signed the Paper. Three were the subject of famous trials for obscenity; others were accused of being blasphemous, libellous, seditious, even racist. Rewriting the critical consensus, the collection is an attempt to think afresh about the twentieth-century novel as a tradition of transgression, perennially caught between license and licentiousness, erudition and sedition.

In eighteenth and nineteenth-century England, consensual marriages became increasingly popular, according women a 'contractual subjectivity' in which the liberal ideal of individual choice was key. Representations of consensual marriage thus provide a firm grounding for the re-evaluation of women's place within society. Because this new progressive form of marriage was based on emotion rather than considerations of status or money, it challenged the hierarchical status quo of English society that the traditional patriarchal marriage had upheld. This phenomenon shows how necessary it is to historicize evaluations of political theory; while the relationship between liberalism and feminism is fiercely debated today, it was the foundation for radical feminism and social change from early modern times through much of the twentieth century. In Consensual Fictions, Wendy S. Jones focuses on the English novel of the period to explore the relationship between married love, classic liberal thought, and novelistic form. Jones argues that these works of fiction use the mulitplot form to explore the specific set of cultural problems associated with the ways in which liberalism reconceived marriage, love, and gender by exploring alternative resolutions to cultural problems through different narrative lines.

The Washington Post Book World has proclaimed that “Susan Howatch may well become the Anthony Trollope of the twentieth century.” Now, in Scandalous Risks, Howatch returns us to the English town of Starbridge, home to a great medieval cathedral and the religious, political, and sexual intrigues that whirl around it. It is into this charged atmosphere—in the already overheated 1960s—that a young woman searching for meaning in her life, and an older man prominent in the Church, begin moving inexorably toward emotional collision. As Venetia Flaxton edges closer to the threshold of a love affair with Neville Aysgarth, who is Dean of the Cathedral and old enough to be her father, his hidden emotional past and her moral conflict in the present lead them deeper and deeper into the mysteries of the human heart and soul. Here is a powerful and moving novel of good and evil, resolve and temptation, hope and despair. Praise for Scandalous Risks “Wonderful.”—The Cleveland Plain Dealer “Howatch is at her best when dealing with conflict, bringing a passion and tension to her portarit of people facing moral dilemmas.”—The Washington Post “Keep[s] one turning the pages.”—The New York Times Book Review “Passionate.”—Entertainment Weekly

The most prolific woman writer of the eighteenth century, Eliza Haywood (1693-1756?) was a key player in the history of the English novel. Along with her contemporary Defoe, she did more than any other writer to create a market for fiction prior to the emergence of Richardson, Fielding, and Smollett. Also one of Augustan England's most popular authors, Haywood came to fame in 1719 with the publication of her first novel, Love in Excess. In addition to writing fiction, she was a playwright, translator, bookseller, actress, theater critic, and editor of The Female Spectator , the first English periodical written by women for women. Though tremendously popular, her novels and plays from the 1720s and 30s scandalized the reading public with explicit portrayals of female sexuality and led others to call her "the Great Arbitress of Passion." Essays in this collection explore themes such as the connections between Haywood's early and late work, her experiments with the form of the novel, her involvement in party politics, her use of myth and plot devices, and her intense interest in the imbalance of power between men and women. Distinguished scholars such as Paula Backschieder, Felicity Nussbaum, and John Richetti approach Haywood from a number of theoretical and topical positions, leading the way in a crucial reexamination of her work. The Passionate Fictions of Eliza Haywood examines the formal and ideological complexities of her prose and demonstrates how Haywood's texts deft traditional schematization.

If you like Bridgerton, you'll love Scandalous! A sweeping historical romance from New York Times bestselling author Candace Camp. When an injured stranger appears on her doorstep, fleeing danger, Priscilla Hamilton is moved to help him. And she’s intrigued by this man without a past. Why would someone want to kill him? And why can’t he remember anything? Priscilla has always been a model of propriety, the dutiful daughter and loving sister who puts her family above all else. No one has ever guessed at the shocking secret she keeps hidden…or the desire that burns inside her at this stranger’s touch. One thing is certain: their love could be nothing less than scandalous.

"Oh, those naughty rakes. With their wicked winks, sensual smiles, and bad boy habits, you just can't take them out in polite society. But who wants to go out when you can stay in. . .? Stolen Pleasures Sebastian Blake, Earl of Merrick, long ago fled the responsibilities of his title to become the infamous pirate, Captain Phoenix. But the booty he's just captured on a merchant ship is a fierce tempered minx who claims to be a bride. . .his bride, married to him by proxy on behest of their fathers. He could shame his hated family and return his beautiful wife untouched, but no treasure has ever proved more tempting to Sebastian, and making their marriage a true one--in every sense--is his one urgent desire . . . Lucien's Gamble Lucien Remington's reputation as a debauched libertine who plays by no one's rules--in business or the bedroom--is well deserved. He gets what he wants, social repudiation be damned. But society can keep from him the one thing he truly desires, the untouchable Lady Julienne La Coeur. Until she sneaks into his club dressed as a man and searching for her irresponsible brother. Suddenly she's in Lucien's grasp, his to take, and his mind is filled with the most wickedly sinful thoughts. A gentleman would walk away from the temptation she presents. But then, Lucien has never claimed to be a gentleman. . . Her Mad Grace Hugh La Coeur never wanted to be the Earl of Montrose. Wine, women, and a hefty wager are preferable to responsibility of any kind. It's certainly preferable to spending the night in an eerie, neglected mansion owned by a legendary madwoman. The duchess's companion, the fiercely independent Charlotte, is another matter altogether. Hugh would be happy to spend as many nights in her bed as possible. He knows she's hiding terrible secrets, but for once in his life, Hugh has the desire to take on someone else's burden as his own, no matter what the danger. . . They're mad, bad, and totally irresistible. . .

This book presents J. M. Coetzee's work as a complex, nuanced counterblast to contemporary, global, neoliberal economics and its societies. Not surprisingly, given his many years in South Africa and Australia, Coetzee writes from a `global-Southern' perspective. Drawing on a wealth of literature, philosophy, and theory, the book reads Coetzee's writings as a discreet, oblique but devastating engagement with neoliberal presumptions. It identifies and focuses on various key features of neoliberal culture: its obsession with self-enrichment, mastery, growth; its belief in plenitude, endless resources; its hubris and obsession with (self)-promotion; its desire for ease and easiness, `well-being', euphoria; its fetishization of managerial reason and the culture of security; its unrelenting positivity, its belief in illusory goods and trivial progressivisms. By contrast, Coetzee's writings explore the virtues of irony and self-reduction. He commits himself to difficulty, discomfort, patient and austere, if bleak, inquiry, rigorous questioning, and radical doubt. Destitution and failure come to look like a serious, dignified form of life and thought. The very tones of Coetzee's books run counter to those of our neoliberal democracies. They point in a different direction to an age that has gone astray.