The New Countess

England, 1905. Lord Robert and Lady Isobel Dilberne, as well as their entire regal estate, with its hundred rooms, are busy planning for a lavish visit from King Edward VII and his mistress just a few months away. Preparations are elaborate and exhaustive: the menus and fashions must be just so. But even amidst the excitement, not everyone is happy. Lady Rosina—now widowed and wealthy— insists on publishing a scandalous book despite her mother's objections. Arthur Dilberne and Chicago Heiress Minnie O'Brien's two young sons—the eldest of whom is heir to the estate—are being reared to Lady Isobel's tastes, not Minnie's. After making a shocking discovery, Minnie will take drastic measures for the sake of her children. And when fate deals a hand in the middle of the royal shooting party, the entire Dilberne estate will face upheaval once again. The New Countess is the final novel in Fay Weldon's outstanding trilogy that began with Habits of the House and Long Live the King. As the bestselling novelist and award-winning writer for the pilot episode of the original Upstairs Downstairs, Weldon magnificently lifts the curtain on early twentieth-century British society, upstairs and downstairs, under one stately roof.

The year is 1905 and King Edward VII has invited himself and his mistress to a shooting weekend with the Dilbernes. Now Isobel, the Countess, must turn a run-down mansion into a palace fit for a king. Just as well the family fortunes have been restored, but money can't solve everything... not even a kidnapping. The servants refuse to condone the King's morals; Isobel's daughter, Lady Rosina – now widowed and wealthy – insists on publishing a scandalous book, and the mis-spent pasts of Viscount Arthur and his Irish-American wife Minnie rear up to blacken the family name. When fate deals a hand in the middle of the shooting party, Isobel must consider not only her leading position in Society, but her entire future. Fay Weldon brings an aristocratic Edwardian household to fabulous, vibrant life in this gorgeously witty tale of manners and morals, commoners and countesses, from one of Britain's best loved authors.

After the Russian Revolution turns her world upside down, Anna, a young Russian countess, has no choice but to flee to England. Penniless, Anna hides her aristocratic background and takes a job as a servant in the household of the esteemed Westerholme family. Anna is overwhelmed by her new duties, and her instant attraction to Rupert, the handsome Earl of Westerholme. To make matters worse, Rupert appears to be falling for her, too. Anna finds it increasingly difficult to keep her secrets from unraveling; and then there's the small matter of Rupert's fiancée.

England, 1582 ELLIE - Lady Eleanor Rodriguez of San Jaime - is in possession of a gold-seeking father, a worthless title and a feisty spirit that captivates the elite of the Queen's court, and none other than the handsome new Earl of Dorset . . . WILLIAM LACEY has inherited his father's title and his financial ruin. Now the Earl must seek a wealthy heiress and restore his family's fortune. But Will's head has been turned by the gorgeous Ellie, yet their union can never be. Will is destined to marry a worthy Lady so the only question is - which one . . . ?

Lady May is back. And so is the scandal that sent her tumbling from her position as the toast of London, when her husband, the Earl of Maybury, was killed in a duel. Even a year of mourning hasn't quieted the rumors of her infidelity. Georgia Maybury is determined to regain her position in the beau monde, but a scarred ex-naval officer threatens her plans...

Mr. Van Vechten has hitherto, often and with justice, been compared to Mr. Aldous Huxley, by reason of the insouciant flippancy of his fiction. But now he has gone beyond Huxley through the production of a story which, without ever losing wit, dexterity, an instinct for civilized charm, yet presents full-length and solidly the portraits not only of the gay countess but of the lugubrious persons whom she is fated to meet, to court, to hurt so pitifully, so inevitably. There are, one hears, accounts these days in the public prints of a banker named Dawes, of a biochemist named Brother Charlie or possibly Charley. But now the fifty or sixty thousand amiable citizens among our hundred and ten million Nordics who do not feel fulfilled in Brother Charlie or Charley, nor even in Brother Charlie's brother, may find civilized delight in a real book-"The Tattooed Countess."--The Saturday Review, Volume 1

Was the “Blood Countess” history’s first and perhaps worst female serial killer? Or did her accusers create a violent fiction in order to remove this beautiful, intelligent, ambitious foe from the male-dominated world of Hungarian politics? In 1611, Countess Erzsébet Báthory, a powerful Hungarian noblewoman, stood helpless as masons walled her inside her castle tower, dooming her to spend her final years in solitary confinement. Her crime: the gruesome murders of dozens of female servants, mostly young girls tortured to death for displeasing their ruthless mistress. Her opponents painted her as a bloodthirsty škrata—a witch—a portrayal that would expand to grotesque proportions through the centuries. In this riveting dramatization of Erzsébet Báthory’s life, the countess tells her story in her own words, writing to her only son—a final reckoning from his mother in an attempt to reveal the truth behind her downfall. Countess Báthory describes her upbringing in one of the most powerful noble houses in Hungary, recounting in loving detail her devotion to her parents and siblings as well as the heartbreak of losing her father at a young age. She soon discovers the price of being a woman in sixteenth-century Hungary as her mother arranges her marriage to Ferenc Nádasdy, a union made with the cold calculation of a financial transaction. Young Erzsébet knows she has no choice but to accept this marriage even as she laments its loveless nature and ultimately turns to the illicit affections of another man. Seemingly resigned to a marriage of convenience and a life of surreptitious pleasure, the countess surprises even herself as she ignites a marital spark with Ferenc through the most unromantic of acts: the violent punishment of an insolent female servant. The event shows Ferenc that his wife is no trophy but a strong, determined woman more than capable of managing their vast estates during Ferenc’s extensive military campaigns against the Turks. Her naked assertion of power accomplishes what her famed beauty could not: capturing the love of her husband. The countess embraces this new role of loving wife and mother, doing everything she can to expand her husband’s power and secure her family’s future. But a darker side surfaces as Countess Báthory’s demand for virtue, obedience, and, above all, respect from her servants takes a sinister turn. What emerges is not only a disturbing, unflinching portrait of the deeds that gave Báthory the moniker “Blood Countess,” but an intimate look at the woman who became a monster.

The real-life inspiration and setting for the Emmy Award-winning Downton Abbey, Lady Almina and the Real Downton Abbey tells the story behind Highclere Castle and the life of one of its most famous inhabitants, Lady Almina, the 5th Countess of Carnarvon. Drawing on a rich store of materials from the archives of Highclere Castle, including diaries, letters, and photographs, the current Lady Carnarvon has written a transporting story of this fabled home on the brink of war. Much like her Masterpiece Classic counterpart, Lady Cora Crawley, Lady Almina was the daughter of a wealthy industrialist, Alfred de Rothschild, who married his daughter off at a young age, her dowry serving as the crucial link in the effort to preserve the Earl of Carnarvon's ancestral home. Throwing open the doors of Highclere Castle to tend to the wounded of World War I, Lady Almina distinguished herself as a brave and remarkable woman. This rich tale contrasts the splendor of Edwardian life in a great house against the backdrop of the First World War and offers an inspiring and revealing picture of the woman at the center of the history of Highclere Castle.