Scandalous Fictions

This study re-examines the twentieth-century novel as a form shaped by its problematic, often scandalous relation to the public sphere. Discussing ten texts against the challenges of their milieus, it considers twentieth-century fiction as a tradition of transgression, perennially caught between license and licentiousness, erudition and sedition.

Riven by world wars and cold wars, atrocities and genocides, the twentieth century was also one of sexual, cultural and ideological revolutions, each inscribed across the fictions it produced. This fascinating new collection of original essays re-examines the twentieth-century novel as a form shaped by its problematic, often scandalous relation to the public sphere. Such iconic texts were crucial in negotiating a public space and voice for fiction in the twentieth century, repositioning their readers and challenging popular notions of privacy and probity. Leading contributors consider ten novels that changed readers' lives as well as public perceptions of the purpose of fiction: The Satanic Verses, Lady Chatterley's Lover, Beloved, On The Road, Disgrace, Ulysses, The Well of Loneliness, A Man of the People, Native Son, and The Hand that Signed the Paper. Three were the subject of famous trials for obscenity; others were accused of being blasphemous, libellous, seditious, even racist. Rewriting the critical consensus, the collection is an attempt to think afresh about the twentieth-century novel as a tradition of transgression, perennially caught between license and licentiousness, erudition and sedition.

The most prolific woman writer of the eighteenth century, Eliza Haywood (1693-1756?) was a key player in the history of the English novel. Along with her contemporary Defoe, she did more than any other writer to create a market for fiction prior to the emergence of Richardson, Fielding, and Smollett. Also one of Augustan England's most popular authors, Haywood came to fame in 1719 with the publication of her first novel, Love in Excess. In addition to writing fiction, she was a playwright, translator, bookseller, actress, theater critic, and editor of The Female Spectator , the first English periodical written by women for women. Though tremendously popular, her novels and plays from the 1720s and 30s scandalized the reading public with explicit portrayals of female sexuality and led others to call her "the Great Arbitress of Passion." Essays in this collection explore themes such as the connections between Haywood's early and late work, her experiments with the form of the novel, her involvement in party politics, her use of myth and plot devices, and her intense interest in the imbalance of power between men and women. Distinguished scholars such as Paula Backschieder, Felicity Nussbaum, and John Richetti approach Haywood from a number of theoretical and topical positions, leading the way in a crucial reexamination of her work. The Passionate Fictions of Eliza Haywood examines the formal and ideological complexities of her prose and demonstrates how Haywood's texts deft traditional schematization.

Originally published by in New York by Pocket Books, 2008.

Can they do what’s right…without betraying their hearts? Senatorial candidate Byron Robidoux always does the right thing. And, after years of focus and dedication, his life and campaign are going exactly to plan—until a blackmailer jeopardizes everything. No one is supposed to know that thirteen years ago, Byron told a lie to protect a college friend. And now that lie could destroy his career…and threaten the woman he never stopped loving. Zoe Hammond hardly recognizes the refined and handsome politician Byron has become. The last time she saw him, he was the friend who saved her life by claiming to be the father of her unborn baby. For that, she’d do anything for him. Except Byron’s world of wealth, reputation and deceit isn’t a place where Zoe or her daughter belong. But when a menace from the past comes calling again, staying with Byron is best for them all. And, as the searing attraction between them builds, they soon realize some things are worth fighting for…especially love.

In eighteenth and nineteenth-century England, consensual marriages became increasingly popular, according women a 'contractual subjectivity' in which the liberal ideal of individual choice was key. Representations of consensual marriage thus provide a firm grounding for the re-evaluation of women's place within society. Because this new progressive form of marriage was based on emotion rather than considerations of status or money, it challenged the hierarchical status quo of English society that the traditional patriarchal marriage had upheld. This phenomenon shows how necessary it is to historicize evaluations of political theory; while the relationship between liberalism and feminism is fiercely debated today, it was the foundation for radical feminism and social change from early modern times through much of the twentieth century. In Consensual Fictions, Wendy S. Jones focuses on the English novel of the period to explore the relationship between married love, classic liberal thought, and novelistic form. Jones argues that these works of fiction use the mulitplot form to explore the specific set of cultural problems associated with the ways in which liberalism reconceived marriage, love, and gender by exploring alternative resolutions to cultural problems through different narrative lines.

Kendra and her boyfriend are sharing the same girl. This tale chronicles the lives of several women who navigate life in silence. They find strength in one another, dealing with drug addiction, assault, personality disorders, closeted behavior, hopelessness and denial. A society forged on the edge of the mainstream; right at the very thin line between love and hate, with no rules on the inside, and minimal intrusion from the outside. Anything might happen over the period of a weekend that could change a woman's life, legacy or virtue.

Two exquisite cousins must exchange identities in a scandalous deception. Madeline de Lacy, the duchess of Magnus, prides herself on being one of the most sensible young women in England, which is why she can't believe that, in a turn of the cards, her noble father has lost his entire estate -- and her! -- to a stranger. On a mission to salvage her family fortune, she changes places with her cousin and companion, sending the meeker Eleanor to confront the man who had won Madeline's hand. Now, Madeline is free to enter the home of a notorious gambler, and pretends to be meek, humble, and competent with an iron. She is, of course, none of those things; she simply is resolved to win her family's fortune back. Just when she thinks matters can't get worse, she meets Gabriel Ansell, the earl of Campion, and they do. Horribly worse. Four years ago, Madeline was engaged to Gabriel, and worshipped his arrogant kisses. Now, being forced to marry a man she doesn't know pales in comparison to the ordeal of facing Gabriel again, the man who betrayed her -- Gabriel, the only man she ever loved.

A comprehensive, accessible and lucid coverage of major issues and key figures in modern and contemporary British literature.

When an injured man appears on her doorstep, Priscilla Hamilton is moved to help the stranger. And intrigued by this man without a past. Why was someone trying to kill him? And what happened to his memory? Priscilla had always been a model of propriety, the dutiful daughter and loving sister who put her family above all else. No one had guessed at the shocking secret she kept hidden…or the desire that burns inside her at this stranger's touch. Their love could be nothing less than scandalous