Old Money New Woman

In Old Money, New Woman, author Byron Tully provides powerful insights and wit-soaked wisdom to help you make the most of your money and improve the quality of your life. Revealing 8 "Old Money Secrets," the author shares time-tested traditions and step-by-step strategies used by the women of America's Upper Class, generation after generation. From education and etiquette to cosmetics and clothing, this must-read book details these coveted, rarely-discussed fundamentals that any woman can use to achieve financial independence, discover her personal style, and make the most of every opportunity. With 18 chapters full of eye-opening information and life-changing inspiration, Old Money, New Woman is a handbook and a guidebook--a "life manual" packed with effective tools, enlightening examples, and soul-searching questions only you can answer--all with one goal in mind: to help you Manage Your Money and Your Life...and make it in the modern world.

The Old Money Book details how anyone from any background can adopt the values, priorities, and habits of America's Upper Class in order to live a richer life. Expanded and updated for a post-pandemic world.

A journal for women to record their thoughts, ideas, plans, and dreams.

After Abigail learns that her dead father has unexpectedly disinterited her, she hires a private detective to discover the reasons behind his cruel decision, and both she and the detective become the target of a mysterious pursuer.

The city is Dublin, the year is 1972. Redser and Pancho are two teenagers from the North Wall. Redser is top of the class, especially good at math. Pancho's knack is finding money, not adding or subtracting it. Redser's parents run the local credit union. Pancho's dad runs riot in the city pubs on pay day. The boys' worlds could not be further apart. Yet they are the best of friends. One day, on his regular paper round, Redser stumbles upon the aftermath of a crime. Two elderly sisters, 'the East Wall witches', have been burgled. But the robbers haven't taken all the money. Redser and Pancho are about to face the biggest challenge of their lives.

Challenging monolithic images of the New Woman as white, well-educated, and politically progressive, this study focuses on important regional, ethnic, and sociopolitical differences in the use of the New Woman trope at the turn of the twentieth century. Using Charles Dana Gibson's "Gibson Girls" as a point of departure, Martha H. Patterson explores how writers such as Pauline Hopkins, Margaret Murray Washington, Sui Sin Far, Mary Johnston, Edith Wharton, Ellen Glasgow, and Willa Cather challenged and redeployed the New Woman image in light of other “new” conceptions: the "New Negro Woman," the "New Ethics," the "New South," and the "New China." As she appears in these writers' works, the New Woman both promises and threatens to effect sociopolitical change as a consumer, an instigator of evolutionary and economic development, and (for writers of color) an icon of successful assimilation into dominant Anglo-American culture. Examining a diverse array of cultural products, Patterson shows how the seemingly celebratory term of the New Woman becomes a trope not only of progressive reform, consumer power, transgressive femininity, modern energy, and modern cure, but also of racial and ethnic taxonomies, social Darwinist struggle, imperialist ambition, assimilationist pressures, and modern decay.

New Women's Dress for Success shows which clothes can have power in today's work place, a business world where casual clothes are becoming the new uniform, and women in management positions have no clear ideas of what to wear.

At thirty-three, Lady Andrea Harrington is the most glamorous and powerful figure in the American food establishment, star of an award-winning gourmet television show and owner of the catering firm most in demand among the very chic and very rich. Then suddenly, at the height of her career, a miscalculation threatens to destroy everything. And once again she must fight to protect the position her ambition has driven her to reach. Getting there once has guaranteed her nothing. Born Andrea Nilsson in Cleveland, she is the only daughter of doting, middle-class parents who, in giving her all they could, simply taught her how much more there was. She becomes a Broadway star at twenty, and a has-been at twenty-two. She is offered a real-life role wife to an English baronet nearly twice her age, only to become the heroine of a real-life tragedy. Moving from brilliant Broadway openings to backstage despair, from English garden parties to lavish Los Angeles mansions, from the kitchens of the world’s greatest restaurants to the bedrooms of the very rich, we follow Lady Andrea on her climb to the top. A gripping saga about a woman force to choose between love and career set in the heady world of international cuisine.

This book explores how the next generation of teen and young adult heroines in popular culture are creating a new feminist ideal for the 21st century. Representations of a teenage girl who is unique or special occur again and again in coming-of-age stories. It's an irresistible concept: the heroine who seems just like every other, but under the surface, she has the potential to change the world. This book examines the cultural significance of teen and young adult female characters—the New Heroines—in popular culture. The book addresses a wide range of examples primarily from the past two decades, with several chapters focusing on a specific heroic figure in popular culture. In addition, the author offers a comparative analysis between the "New Woman" figure from the late 19th and early 20th century and the New Heroine in the 21st century. Readers will understand how representations of teenage girls in fiction and nonfiction are positioned as heroic because of their ability to find out about themselves by connecting with other people, their environment, and technology.

A dinner party in an ornate mansion on the fashionable Upper East Side of Manhattan provides the scene for this witty and incisive play. Set in two eras--the early 1900s and our own Gilded Age--the characters move effortlessly from one period to the other. The host, a contemporary master of high-risk arbitrage, steps in and out of character as a robber baron of an earlier time. His guests of today include a Hollywood director, a not-so-cutting-edge sculptor, an online lingerie designer, an aggressive publicist, and an aging historian. Their counterparts from the past are the great man's rebellious son, a grand dame of New York society, the architect who built the mansion originally, and the maids and servants who maintain it. In this dance of rich storytelling and social commentary, it becomes strikingly clear that while old money has become new, little else has changed over the years. Children still rebel against their controlling parents, women still hope for love, and greed, snobbery, and angst persist.