Miranda said: What a bunch of party poopers.
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Comments Atom. But before people start lobbing hand-grenades, can I point out that selling your first book is not all roses. Harlequin Historical Regency. Harlequin Historical Authors converge on the Big Apple! There were many of yo ur favorite Harlequin Historical Authors there, too --and wouldn ;t you know, we ;d find a way to get to some fascinating local history during our stay there!
The HH editors. Then I discovered that other people were writing the same kind of books—Regency romances. To say that that one book changed my life would not be overstating the case at all. Georgette Heyer is known and respected for her accuracy and in our historical line at Harlequin we certainly ask that authors do their research.
Regency Retro Reads
The process is such an engrossing, enjoyable one that we know the challenge for some authors is what to put in and what fascinating facts to leave out. Although Heyer worked hard to ensure her novels were historically accurate, her depiction of the Regency is coloured by her own beliefs. As Styles notes, there were. Lady Jersey served as the senior partner from She never allowed the men in her life to take an active part in the bank, and retained the right to hire and fire all the other partners.
My beautiful nephew did not get his boorishness from us. Sir Waldo belongs to a certain set which is considered to be the very height of fashion. In fact, he is its leader […]. You must know, perhaps better than I do, that the manners and too often the conduct of those who are vulgarly called Top-of-the-Trees are not governed by quite the same principles which are the rule in more modest circles. Freddy himself is a Mark II hero, and Kitty has by this stage in the novel come to recognise their relative merits:. He seemed just like all the heroes in books, but I soon found that he is not like them at all.
In describing in loving detail the minaret-domed exterior and the magnificent Chinoiserie interior of the Pavilion, Georgette described a building which did not yet exist in that form. Her mistake in Regency Buck came from her reading of the limited source material […]. Georgette made very few mistakes in her historical novels and the discovery of an error always caused her considerable distress. A minor error of a slightly different nature can be found in The Nonesuch. Dawson In this quarter is a spacious square environed with handsome brick houses […].
Ryley does not give the precise number of children at the school No publication date is given for G. This would appear to suggest that Cooke visited Leeds during the summer of His comments regarding the Charity School cannot be regarded as entirely reliable, however, since his description of Leeds often appears to repeat Bigland verbatim.
Bigland includes the figures quoted by Cooke and those given by Ryley Kloester identifies the author in question as Barbara Cartland Biography Baines, Edward. Leeds: Edward Baines, Ballaster, Ros. Oxford: Clarendon, Balogh, Mary. Lanham, MD: Scarecrow, Bigland, John. London: J.
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Cowie and Co. Bloom, Clive. Bestsellers: Popular Fiction Since Houndmills, Basingstoke: Palgrave Macmillan, Burt, Steven, and Kevin Grady. The Illustrated History of Leeds. Derby: Breedon Books, Byatt, A. Mary Fahnestock-Thomas. Saraland, AL: PrinnyWorld, Cooke, G.
London: Sherwood, Neely, and Jones. No date. Feltham, John. Guiley, Rosemary. New York: Facts on File, Laski, Marghanita. Laurens, Stephanie. These Old Shades. By Georgette Heyer. Don Mills, Ontario: Harlequin, Le Marchant, Denis. London: Richard Bentley and Son, Lutz, Deborah.
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Philadelphia: U of Pennsylvania P, New York: Methuen, Ryley, John. Veve, Thomas D. Wendell, Sarah.
Naperville, IL: Sourcebooks, Westman, Karin E. Susan Strehle and Mary Paniccia Carden. On his wedding night, Fitz william Darcy is momentarily deflated, literally and figuratively, upon learning that Elizabeth has seen him, naked and aroused, in the company of an equally naked and aroused Charles Bingley. This is the place in my book where the deliberate correlation of wealth, power and sexuality is stated most clearly, and as Elizabeth cheerfully admits, crudely. That the romantic hero in each of these books is not simply a wealthy, upper-class man, but also a bisexual top, as dominant in the bedroom as he is in the social structure, is the twist on the Austen model that I wish to explore in this essay.
Consider, for example, the way that Meredith S. Members of minority groups such as African-Americans, gay men and lesbians and, occasionally, people with disabilities are the heroes and heroines of love stories from which they were not so long ago excluded. To Faust, at least, it seemed positively retrograde.
Set during the English Regency , near the end of the Georgian era, my novels take place at a time when traditional ideas of social class were only beginning to be questioned. As I wrote them, I imagined heroes who embody late Augustan-age,  robust masculinity: men at the top of their society who enjoy every material advantage and who expect to control their partners.
What, though, of their bisexuality, their status as outsiders in a harsh, punitive, heteronormative society? At a time when same-sex love between men was a capital offense, how could these men also be at the top of their world? To address these questions within the limited space of this article, I will have to survey changes in attitudes toward male human sexuality over time and place in a necessarily cursory fashion, concentrating on eighteenth-century England. In vaginal heterosexual sex, the man is the inserter, the woman the receiver. Only the pathics are considered to be homosexual, and there is often a specific word in the language for them.
In some age-stratified societies, the period of same-sex relationships is a distinct phase for all males between early adolescence and heterosexual marriage; in others, access to youths is a permanent privilege of masculine adulthood. Dover compares the acceptable behavior for a youth courted by an older man in ancient Greece to that of a proper Victorian lady The modest youth, like the nineteenth-century woman, does not desire or seek out sexual intercourse for its own sake, but yields to an honorable proposal from a good man whom he admires. It is the adult masculine role to pursue and to take the top position in sex; it is the feminine or youthful role to submit to the bottom position, but only out of love for a worthy suitor.
In the gender-stratified society, the pathic is female-identified by appearance and behavior. In the age-stratified society, it is boys who are too young to show secondary sex characteristics that are acceptable objects of adult male attraction. It is important to note that I am talking now only about socially-approved behavior.
Working-class men, foreigners, and especially slaves were by definition on the bottom of this vertical divide, expected or required, for reasons of poverty or disenfranchisement, to engage in the receptive role with wealthy higher-ranking men. By the time we come to early modern England, acceptable behavior no longer includes any same-sex activity. Up until the middle of the seventeenth century, invisible homosexual relationships could exist within a hierarchical society that contained, along with the usual age and gender stratifications, a third one—social class—also present in ancient Greece.
At the end of the seventeenth century, for complicated and much-debated reasons involving urbanization and the concentration in cities of young unmarried men, as well as the desire to persecute Roman Catholic institutions, male same-sex activity came to the attention of the legal and religious authorities. This horizontal division is similar to, and perhaps the first step toward, the modern concept of sexual orientation or identity.