Winnie Childs The Shop Girl

It was a horrible day at sea, horrible even on board the new and splendid Monarchic. All the prettiest people had disappeared from the huge dining-saloon. They had turned green, and then faded away, one by one or in hurried groups; and now the very thought of music at meals made them sick, in ragtime.

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Reproduction of the original: Winnie Childs by Alice Muriel Williamson, Charles Norris Williamson

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Alice Muriel Williamson (1869-1933) was a British novelist. She was Charles Norris Williamson (1859-1920)'s wife. Her former name was Alice Muriel Livingston, and she was introducing herself after her marriage as Mrs. C. N. Williamson. Her mystery A Women in Grey (1898) was translated and adapted into Japanese by Kuroiwa Ruiko by the title Ghost Tower in 1901. Alice and her Husband collaborated in writing too many books including The Princess Passes (1905), The Motor Maid (1910), The Port of Adventure (1913), It Happened in Egypt (1914), The Shop-Girl (1916) and The Second Latchkey (1920).

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"In Consuming Fantasies: Labor, Leisure, and the London Shopgirl, 1880-1920, Lise Shapiro Sanders examines the cultural significance of the shopgirl - both historical figure and fictional heroine - from the end of Queen Victoria's reign through the First World War. As the author reveals, the shopgirl embodied the fantasies associated with a growing consumer culture: romantic adventure, upward mobility, and the acquisition of material goods. Reading novels such as George Gissing's The Odd Women and W. Somerset Maugham's Of Human Bondage as well as short stories, musical comedies, and films, Sanders argues that the London shopgirl appeared in the midst of controversies over sexual morality and the pleasures and dangers of London itself. Sanders explores the shopgirl's centrality to modern conceptions of fantasy, desire, and everyday life for working women and argues for her as a key figure in cultural and social histories of the period. This study will appeal to scholars, students, and enthusiasts of Victorian and Edwardian life and literature."--BOOK JACKET.

"[...]flowers against the neutral background. Also, when he came to think of it, he wasn't sure that the walls were not mostly made of mirrors. That was why he could not be certain whether he had seen five dryads or five times five. "The dryad door," he apostrophized it romantically, keeping his balance by standing with his feet apart, as old men stand before a fire. It was a very ordinary-looking door, and that made the romance for Peter in giving it such a name-just a white-painted door, so new that it smelled slightly of varnish-yet behind it lay dreamland. Of course Peter Rolls knew that the tall, incredibly lovely beings were not dryads and not dreams, although they wore low necks, and pearls and [...]".