What is Clare Wingate doing? One minute she's suffering in a pretty-in-pink gown she'll never wear again, and the next thing she knows it's morning . . . and she's lying next to Sebastian Vaughan, her girlhood crush turned sexy, globe-hopping journalist. After finding her own fiancé in a compromising position with the washing machine repairman, Clare had the right to go wild. But Clare is in no mood for love—not even for lust—and wants to forget about Sebastian and his six-pack abs ASAP. But he isn't in the mood to go away, and his kiss is impossible to forget.
What is Clare Wingate doing? One minute she's suffering in a pretty-in-pink gown she'll never wear again, and the next thing she knows it's morning . . . and she has the nastiest hangover of her life. To make matters worse, she's wearing nothing but a spritz of Escada and lying next to Sebastian Vaughan . . . her girlhood crush turned sexy, globe-hopping journalist. Somewhere between the toast and the toss of the bouquet she'd gotten herself into a whole lot of trouble. Clare had the right to go wild—after all, she'd been knocked off her dyed-to-match shoes after finding her own fiancé in a compromising position with the washing machine repairman. Clearly her society wedding is off. But Sebastian pushed all the wrong buttons—and some of the right ones, too. Clare is in no mood for love—not even for lust—and wants to forget about Sebastian and his six-pack abs ASAP. But he isn't in the mood to go away, and his kiss is impossible to forget.
Set in Hong Kong, Singapore and Cambodia in the 1960s, Wong Kar Wai's In the Mood for Love (2000) is a film that luxuriates in the feeling of being in love – without ever turning into a love story. Its central characters, Mr Chow and Mrs Chan, are tenants in next-door apartments in Hong Kong who discover that their respective spouses are having an affair. Both of them have promiscuous colleagues at work, but they struggle to make sense of their partners' behaviour – and to control their growing feelings for each other. Hailed by the press as 'the consummate unconsummated love story of the new millennium', this film about desire repressed has become a firmly established classic of the twenty-first century. In his sharp and revealing analysis of In the Mood for Love, Tony Rayns draws on his considerable expertise in East Asian cinema and on his proximity to Wong Kar Wai and his colleagues at Jet Tone during the film's long and complicated genesis. He delivers a personal and highly original commentary on the film and its production, complete with privileged insights into Wong's idiosyncratic working methods and influences. The book also places the film in the context of Wong's other work, with sidelights on its place in Hong Kong cinema as a whole. This special edition features original cover artwork by Jimmy Turrell.
Writer, artist, Manhattan gallery owner, and co-editor of the Little Review, Jane Heap was one of the most dynamic figures of the international avant garde, creating a life that defined the "modernist experience" as a syncretic one. Deliberately seeking a low profile throughout her life, Heap has frustrated many scholars interested in her personal life and the extraordinarily vital period in which she lived. Through her correspondence, Heap here reveals her intimate self as well as her more public, creative relationships with some of the legends of modern art, literature, and spirituality. Focusing primarily on the voluminous letters written by Heap to Florence Reynolds, the correspondence included in this volume spans the years from 1908-1949, incorporating additional illuminating letters to Reynolds from other significant figures in Heap's life. Heap's letters reveal the radical transformation of a dreamy, young Midwestern woman into a forceful, sophisticated arbiter of international modernism and provide rare insight into the struggle for lesbian identity and community during the inter-war period. They detail her eventual abandonment of art in the search for the transcendent in the seductive and esoteric mysticism of George Gurdjieff. Holly Baggett's accompanying essay further highlights the boldness of Jane Heap's aesthetics and life.
Love, Lust & Heartbreak: 50 Romance Classics in One Collection stands as a monumental tribute to the enduring power and complexity of romantic literature. This anthology spans centuries and continents, weaving together an intricate tapestry of narratives that explore the many facets of love, from the unbridled passion of youthful desire to the profound grief of lost affection. The collection boasts an impressive array of literary styles, including the tragic romanticism of the Brontë sisters, the sharp societal critiques and humor of Jane Austen and William Shakespeare, and the exploratory psychological depth of Henry James and Virginia Woolf. The selection not only highlights the timeless struggle and beauty found in love stories but also showcases the evolution of the romance genre across differing cultures and epochs. The authors featured in this collection bring with them a myriad of backgrounds and perspectives, allowing for a rich and varied exploration of romantic themes. Esteemed for their contributions to literature, figures like Dickens, Eliot, Tolstoy, and Wharton provide readers with an intimate glimpse into the social mores and individual quests for love and meaning within their respective societies. This confluence of authors, spanning the Romantic period to the Modernist era, exemplifies the multifaceted nature of romance literature and its symbiotic relationship with historical, cultural, and literary movements. The anthology serves as a panoramic vista of loves iterations, challenges, and triumphs, as seen through the lenses of some of literatures most celebrated authors. Love, Lust & Heartbreak: 50 Romance Classics in One Collection is a seminal work that beckons readers to immerse themselves in the rich tapestry of romantic literature. It provides a unique opportunity to engage with the diverse narratives of love that have captivated hearts and stirred passions across generations. This collection is an essential addition to the libraries of literature aficionados, offering a comprehensive understanding of the romance genres evolution and its pivotal role in exploring the human condition. Readers are invited to delve into this anthology, not only as a pursuit of entertainment but as an educational journey through the landscapes of love, loss, and desire that define our collective human experience.
Musaicum Books presents to you this meticulously edited collection. Content: Romeo & Juliet by William Shakespeare (Play) Romeo & Juliet (Prose Version) Evelina (Fanny Burney) Camilla (Fanny Burney) Pride and Prejudice (Jane Austen) Sense and Sensibility (Jane Austen) Mansfield Park (Jane Austen) Emma (Jane Austen) Persuasion (Jane Austen) The Sorrows of Young Werther (Goethe) Jane Eyre (Charlotte Brontë) Villette (Charlotte Brontë) Wuthering Heights (Emily Brontë) The Tenant of Wildfell Hall (Anne Brontë) The Red and the Black (Stendhal) Lorna Doone (R.D. Blackmore) Dangerous Liaisons (Pierre Choderlos de Laclos) The Portrait of a Lady (Henry James) The Wings of the Dove (Henry James) Scarlet Letter (Nathaniel Hawthorne) Adam Bede (George Eliot) Anna Karenina (Leo Tolstoy) Far from the Madding Crowd (Thomas Hardy) Tess of the d'Urbervilles (Thomas Hardy) North and South (Elizabeth Gaskell) Wives and Daughters (Elizabeth Gaskell) The Age of Innocence (Edith Wharton) Little Women (Louisa May Alcott) An Old-Fashioned Girl (Louisa May Alcott) The Lady of the Camellias (Alexandre Dumas) The House of a Thousand Candles (Meredith Nicholson) Great Expectations (Charles Dickens) The Phantom of the Opera (Gaston Leroux) A Room with a View (E. M. Forster) The Beautiful and Damned (F. Scott Fitzgerald) Jennie Gerhardt (Theodore Dreiser) Ann Veronica (H. G. Wells) The Enchanted Barn (Grace Livingston Hill) The Girl from Montana (Grace Livingston Hill) The Miranda Trilogy (Grace Livingston Hill) Marcia Schuyler Phoebe Deane Miranda The Agony Column (Earl DerrBiggers) The Bride of Lammermoor (Walter Scott) Night and Day (Virginia Woolf) Affairs of State (Burton Egbert Stevenson) Jill the Reckless (P.G. Wodehouse) The Black Moth (Georgette Heyer) The Transformation of Philip Jettan (Georgette Heyer) And Both Were Young (Madeleine L'Engle) Penny Plain (O. Douglas) The Awakening (Kate Chopin)
Just when the Russell Family had finally gotten their lives back to some normalcy, new trials creep up, causing them to question God again. Isnt that just like the enemy? Gene Russell A devoted husband even after thirteen years although at times, its questionable. It could be a number of reasons why hes not feeling the same way he did years ago: Is he no longer attracted? Is it another woman? Is he just bored with Deshea? Gene cant put his finger on it. Meanwhile, everything else around him is beginning to slip away before his eyes and his pride, as the head of this household, might cost him what matters most if hes not careful. Deshea Russell Also devoted, although its questionable who or what her heart is actually devoted to. Deshea has the life; good husband, good job, supportive mother, a good son -- What more could she want? Well let her tell it, her life is still unfulfilling; still missing something. Despite the issues that lie in front of her; Deshea still decides what better time to begin a journey to find herself again. During her self-centeredness, God allows tragedies to wake her up and force her to face reality. Dorian Lorell No longer Gene and Desheas mild-mannered thirteen year-old. Hes fifteen now and altogether different. New attitude, new thoughts, new habits, new desires and new circle of friends. Life for him is just about to get sweeter once his real dad, Maleek, comes home from prison. Things would certainly change for everyone now. Maleek would make up for the fifteen years of lost time he missed with his son Dorian. Dorian couldnt be more excited. No longer would peoples actions affect or get in Dorians way of happiness and if they tried, they would pay.
