The Origins Of The English Marriage Plot

Examines how and why marriage plots became the English novel's most popular form in the eighteenth century. This book will be of interest to students and researchers of eighteenth and early nineteenth-century English literature and culture as well as feminist literary history.

The long-awaited new novel from the Pulitzer Prize-winning author Jeffrey Eugenides. "There is no happiness in love, except at the end of an English novel." —Anthony Trollope, Barchester Towers Madeleine Hanna was the dutiful English major who didn't get the memo. While everyone else in the early 1980s was reading Derrida, she was happily absorbed with Jane Austen and George Eliot: purveyors of the marriage plot that lies at the heart of the greatest English novels. Madeleine was the girl who dressed a little too nicely for the taste of her more bohemian friends, the perfect girlfriend whose college love life, despite her good looks, hadn't lived up to expectations. But now, in the spring of her senior year, Madeleine has enrolled in a semiotics course "to see what all the fuss is about," and, for reasons that have nothing to do with school, life and literature will never be the same. Not after she falls in love with Leonard Morten - charismatic loner, college Darwinist and lost Oregon boy - who is possessed of seemingly inexhaustible energy and introduces her to the ecstasies of immediate experience. And certainly not after Mitchell Grammaticus - devotee of Patti Smith and Thomas Merton - resurfaces in her life, obsessed with the idea that Madeleine is destined to be his mate. The triangle in this amazing and delicious novel about a generation beginning to grow up is age old, and completely fresh and surprising. With devastating wit, irony and an abiding understanding and love for his characters, Jeffrey Eugenides resuscitates the original energies of the novel while creating a story so contemporary that it reads like the intimate journal of our own lives.

The novel was born religious, alongside Protestant texts produced in the same format by the same publishers. Novels borrowed features of these texts but over the years distinguished themselves, becoming the genre we know today. Jordan Alexander Stein traces this history, showing how the physical object of the book shaped the stories it contained.

For nineteenth-century Eastern European Jews, modernization entailed the abandonment of arranged marriage in favor of the "love match." Romantic novels taught Jewish readers the rules of romance and the choreography of courtship. But because these new conceptions of romance were rooted in the Christian and chivalric traditions, the Jewish embrace of "the love religion" was always partial. In The Marriage Plot, Naomi Seidman considers the evolution of Jewish love and marriage though the literature that provided Jews with a sentimental education, highlighting a persistent ambivalence in the Jewish adoption of European romantic ideologies. Nineteenth-century Hebrew and Yiddish literature tempered romantic love with the claims of family and community, and treated the rules of gender complementarity as comedic fodder. Twentieth-century Jewish writers turned back to tradition, finding pleasures in matchmaking, intergenerational ties, and sexual segregation. In the modern Jewish voices of Sigmund Freud, Erica Jong, Philip Roth, and Tony Kushner, the Jewish heretical challenge to the European romantic sublime has become the central sexual ideology of our time.

Questioning a literary history that, since Ian Watt's Rise of the Novel, has privileged the courtship plot, Kelly Hager proposes an equally powerful but overlooked narrative focusing on the failed marriage. Hager maps the legal history of marriage and divorce, providing crucial background as she reveals the prevalence of the failed-marriage plot in eighteenth- and nineteenth-century British novels. Dickens's novels emerge as representative case studies in their preoccupations with the disintegration of marriage, the far-reaching and disastrous effects of the doctrine of coverture, and the comic, spectacular, and monstrous possibilities afforded by the failed-marriage plot. Setting his narratives alongside the writings of liberal reformers like John Stuart Mill and the seemingly conservative agendas of Caroline Norton, Eliza Lynn Linton, and Sarah Stickney Ellis, Hager also offers a more contextualized account of the competing strands of the Woman Question. In the course of her revisionist readings of Dickens's novels, Hager uncovers a Dickens who is neither the conservative agent of the patriarchy nor a novelistic Jeremy Bentham, and reveals that tipping the marriage plot on its head forces us to adjust our understanding of the complexities of Victorian proto-feminism.

If you love Bridgerton, you'll love Georgette Heyer! 'The greatest writer who ever lived' ANTONIA FRASER '[My] generation's Julia Quinn' ADJOA ANDOH, star of Bridgerton 'One of my perennial comfort authors. Heyer's books are as incisively witty and quietly subversive as any of Jane Austen's' JOANNE HARRIS _____________ Horry Winwood doesn't play by the rules. So when her family are near ruin and her sister is about to enter a loveless marriage to a wealthy man to settle the family debts, young and headstrong Horry proposes to marry him in her sister's place. As her new husband's attentions fall elsewhere, Horry begins to feel increasingly unhappy. Then she meets the attractive and dangerous Lord Lethbridge and her days suddenly become more exciting. But there is bad blood between Horry's husband and her new acquaitnance, and as complications and deceptions mount, the social tangle grows ever trickier to unpick. Will Horry's gamble cost her everything she holds most dear? _____________ 'Elegant, witty and rapturously romantic' KATIE FFORDE 'Utterly delightful' GUARDIAN 'Absolutely delicious tales of Regency heroes. . . Utter, immersive escapism' SOPHIE KINSELLA 'Georgette Heyer's Regency romances brim with elegance, wit and historical accuracy, and this is one of her finest and most entertaining ... Escapism of the highest order' DAILY MAIL 'If you haven't read Georgette Heyer yet, what a treat you have in store!' HARRIET EVANS _____________ Readers love The Convenient Marriage . . . ***** 'Another good read from Heyer!!! I absolutely loved the characters!!!' ***** 'Heyer's characterizations just sparkle and shine.' ***** 'Absolutely delightful. As expected, really.' ***** 'I enjoyed this historical romance very much.' ***** 'Splendid comedy, with a charming romance.'

ONE OF THE MOST LOVED NOVELS OF THE DECADE. A long-lost book reappears, mysteriously connecting an old man searching for his son and a girl seeking a cure for her widowed mother's loneliness. Leo Gursky taps his radiator each evening to let his upstairs neighbor know he’s still alive. But it wasn’t always like this: in the Polish village of his youth, he fell in love and wrote a book…Sixty years later and half a world away, fourteen-year-old Alma, who was named after a character in that book, undertakes an adventure to find her namesake and save her family. With virtuosic skill and soaring imaginative power, Nicole Krauss gradually draws these stories together toward a climax of "extraordinary depth and beauty" (Newsday).