Trapped under the reign of a cruel keeper, Ellen Harding longs to be free. Under his oppression, her soul and conscience have died while her body lives on, fulfilling his dissolute desires. She is empty-a vessel-deaf to the voice of morality and blind to shame. When her eyes are drawn to a beautiful man for no other reason than his looks, she imagines what it would be like to escape her chains for a night by giving her body to him. Edward is restless, lonely, and a little angry with his lot in life-it is his only excuse for being drawn to another man's mistress. The woman's dark hair and pale eyes are striking, and he cannot take his gaze off her while she watches him over the top of a fan with an illicit intent in her eyes. Once he's known her, he cannot forget her, and once he's seen the evidence of her supposed benefactor's brutality, he wants to help her. But how can he when she will not run any more than she will speak of her past? When a desperate Ellen finally relents and shocks Edward from his sleep, he doesn't hesitate, he helps her flee. He just doesn't know he's running headlong into the secrets of her past.
Pure, unadulterated romance. Best Chick Lit.com In the eyes of the ton, Ellen Harding lives a charmed life - she is the beautiful, exquisitely adorned mistress of Lord Gainsborough. But on the inside, behind her glamorous facade, she is empty - a vessel - deaf to the voice of morality and blind to shame. Unable to escape the gilded cage she has been trapped within. Kind, gentle Edward Marlow could prove to be her salvation... With one look he gives her hope. With one touch he sets her senses alight. Lose yourself in the passionate intensity of this stunning debut from exciting new talent Jane Lark.
My lady, Fiammetta Bianchini, was plucking her eyebrows and biting color into her lips when the unthinkable happened and the Holy Roman Emperor’s army blew a hole in the wall of God’s eternal city, letting in a flood of half-starved, half-crazed troops bent on pillage and punishment. Thus begins In the Company of the Courtesan, Sarah Dunant’s epic novel of life in Renaissance Italy. Escaping the sack of Rome in 1527, with their stomachs churning on the jewels they have swallowed, the courtesan Fiammetta and her dwarf companion, Bucino, head for Venice, the shimmering city born out of water to become a miracle of east-west trade: rich and rancid, pious and profitable, beautiful and squalid. With a mix of courage and cunning they infiltrate Venetian society. Together they make the perfect partnership: the sharp-tongued, sharp-witted dwarf, and his vibrant mistress, trained from birth to charm, entertain, and satisfy men who have the money to support her. Yet as their fortunes rise, this perfect partnership comes under threat, from the searing passion of a lover who wants more than his allotted nights to the attentions of an admiring Turk in search of human novelties for his sultan’s court. But Fiammetta and Bucino’s greatest challenge comes from a young crippled woman, a blind healer who insinuates herself into their lives and hearts with devastating consequences for them all. A story of desire and deception, sin and religion, loyalty and friendship, In the Company of the Courtesan paints a portrait of one of the world’s greatest cities at its most potent moment in history: It is a picture that remains vivid long after the final page.
Set amid the elegant châteaux of Belle époque France and the closely guarded world of nineteenth-century Persian women, Courtesan unfolds with the breathtaking cinematic sweep and stunning visual grandeur of an epic film. At its heart are three unforgettable women: Madame Gabrielle, the courtesan whose fateful liaison with the shah of Persia reverberates in the lives of her daughter, Françoise, and her rebellious and brave granddaughter, Simone, whose journey plunges her into the cutthroat diamond trade, where the secrets of an ancient culture may hold the truth she desperately seeks.
Too late for cold feet Baron Edward Christie prided himself on his reputation for even temperament and reserve. That was before he met Caroline Parker. Wedding a scandalous beauty by special license days after they met did not inspire respect for his sangfroid. Moving her to a notorious lovebirds' nest as punishment for her flighty nature was perhaps also a blow. And of course talk has gotten out of his irresistible clandestine visits. Christie must put his wife aside—if only he can get her out of his blood first. Too hot to refuse. . . Caroline Parker was prepared to hear the worst: that her husband had determined to divorce her, spare them both the torture of passion they can neither tame nor escape. But his plan is wickeder than any she's ever heard. Life as his wife is suffocating. But she cannot resist becoming her own husband's mistress. . . "A very talented debut author." —Romance Junkies Praise for Maggie Robinson's Mistress by Mistake "Sizzles off the page." —Anna Campbell
From Pulitzer-Prize-nominated author Susan Griffin comes an unprecedented, provocative look at the dazzling world of the West’s first independent women, whose lively liaisons brought them unspoken influence, wealth, and freedom. While they charmed some of Europe’s most illustrious men honing their social skills as well as their sexual ones, the great courtesans gained riches, power, education, and sexual freedom in a time when other women were denied all of these. From Imperia of sixteenth-century Rome, who personified the Renaissance ideal of beauty; Mme. de Pompadour, the arbiter of all things fashionable in eighteenth-century Paris and Versailles; Liane de Pougy, known in France during the Belle Epoque as “Our National Courtesan”; to Sarah Bernhardt, who, following in her mother’s footsteps, supported herself in her early career with a second profession, The Book of the Courtesans tells the life stories and intricacies of the lavish lifestyles of these women. Unlike their geisha counterparts, courtesans neither lived in brothels nor bent their wills to suit their suitors. They were strong- willed, autonomous, and plucky. An open secret, their presence can be felt throughout our culture. The muses who enflamed the hearts and imaginations of our most celebrated artists, they were also artists in their own right. They wrote poetry and novels, invented the cancan at the Moulin Rouge, and presented celebrated acts at the Folies Bergères. They helped to influence and shape the sensibility of modern literature, painting, and fashion. When Greek sculptor Praxiteles wanted to depict Venus he used a famous courtesan as a model, as in later centuries Titian, Veronese, Raphael, Giorgione, and Boucher did when they painted goddesses. When Marcel Proust was a young man it was the courtesan Laure Hayman who took him under her wing, introducing him to the right people, and providing inspiration for one of literature’s greatest masterpieces. And they often had considerable political influence too. When King Louis XV needed advice on foreign affairs or appointments of state he turned to Jeanne du Barry as well as Pompadour. In her witty and insightful prose, as Griffin celebrates these alluring and fascinating women, she restores a lost legacy of women’s history. She gives us the stories of these amazing women who, starting from impoverished or unimpressive beginnings, garnered chateaux, fine coaches, fabulous collections of jewelry, and even aristocratic titles along the way. And through a brilliant exploration of their extraordinary abilities, skills, and talents which Griffin playfully categorizes as their virtues "Timing, Beauty, Cheek, Brilliance, Gaiety, Grace, and Charm" her book explains how, while helping themselves, through their often outrageous, always entertaining examples, the great courtesans not only enriched our cultural heritage but helped to liberate women from the social, sexual, and economic strictures that confined them. Intensively researched and beautifully crafted, The Book of the Courtesans delves into scintillating but often hidden worlds, telling stories gleaned from many sources, including courtesans’ memoirs, presented along with stunning rare photographs to create memorable portraits of some of the most pivotal figures in women’s history.
Lady Caroline Lamb was described by her lover, Lord Byron, as having a heart like a "little volcano" and as "the cleverest most agreeable, absurd, amiable, perplexing, dangerous fascinating little being that lives now or ought to have lived 2000 years ago." She wrote witty and revealing letters to fellow writers like Lady Morgan, William Godwin, Robert Malthus, and Amelia Opie, and to her publishers John Murray and Henry Colburn, to her cousins Hart, Georgiana, and Harrio, as well as to her mother, husband, son, and lovers. In those letters, she told her correspondents "the whole disgraceful truth" of her drug and alcohol addictions, her affairs with Sir Godfrey Vassal Webster, Lord Byron, and Michael Bruce, and her jealousy of her cousin Georgiana (whom William Lamb had "adored" before proposing to Caroline). She also revealed her efforts to make a happy life for her mentally retarded, epileptic son, Augustus, and her determination to become a respected writer of fiction and poetry.
The bold games of passion play out with delicious consequences in this fourth novel of Nicole Jordan’s seductive new series, The Courtship Wars. Two years ago, lively beauty Eleanor Pierce spied her dashing betrothed, Damon Stafford, Viscount Wrexham, with his former mistress and furiously ended their engagement. Now the charming rake is back in London, meddling in Eleanor’s affairs, bent on thwarting her new suitor. And when Damon’s intoxicating kisses rekindle her deepest longing, Eleanor loses her heart . . . again. But as she has no intention of allowing history to repeat itself, she embarks on a plan of tantalizing seduction, vowing to tame the rogue before she surrenders to his wicked, willful desires. Determined to stop another man from wooing and winning the woman he loves, Damon knows that claiming Eleanor’s heart is all that matters. But this scandalously bold beauty means to beat him at his own game of romance–a game he is ready and willing to lose.
