Damon Wildeve, a local innkeeper known for his fickleness is preoccupied with Eustacia Vye, an exotically beautiful young woman who broke up with him when Clym, a successful diamond merchant, returned from Paris to his native Egdon Heath. Eustacia sees him as a way to escape the hated heath and begin a grander, richer existence in a glamorous new location. When he sees that Eustacia is lost to him, Wildeve marries Thomasin Yeobright, who gives birth to a daughter. After realizing that Clym won't fulfill her dreams, Eustacia becomes desperate, but another opportunity shows up. Wildeve has unexpectedly inherited a large sum of money, and is now in a better position to fulfill Eustacia's hopes, but he now has a wife and a child.
This is a historical romance novel written by an anonymous author who published a series of books about Elizabethan era England. Excerpt: "I denounce thee, in the presence of this menial, as a traitor and a spy!" A flash of anger mounted to Hildebrand's cheeks at these words, and his rapier, on which his grasp had already been fastened, leaped from its scabbard on the instant. "Such terms would provoke an angel! Stand on thy guard!" he said and jumped."
Story of Egdon Heath and Eustacia Vye in late nineteenth century Wessex, England. Set in the vast, brooding heathlands of England, it lays bare the frailties of human love.
Virginia Woolf’s daring essay on how illness transforms our perception, plus an essay by Woolf’s mother from the caregiver’s perspective: “Revelatory.” —Booklist This new publication of “On Being Ill” with “Notes from Sick Rooms” presents Virginia Woolf and her mother, Julia Stephen, in textual conversation for the first time in literary history. In the poignant and humorous essay “On Being Ill,” Woolf observes that though illness is part of every human being’s experience, it is not celebrated as a subject of great literature in the way that love and war are embraced by writers and readers. We must, Woolf says, invent a new language to describe pain. Illness, she observes, enhances our perceptions and reduces self-consciousness; it is “the great confessional.” Woolf discusses the taboos associated with illness, and she explores how it changes our relationship to the world around us. “Notes from Sick Rooms,” meanwhile, addresses illness from the caregiver’s perspective. With clarity, humor, and pathos, Julia Stephen offers concrete information that remains useful to nurses and caregivers today. This edition also includes an introduction to “Notes from Sick Rooms” by Mark Hussey, founding editor of Woolf Studies Annual, and a poignant afterword by Rita Charon, MD, founder of the field of Narrative Medicine. In addition, Hermione Lee’s brilliant introduction to “On Being Ill” offers a superb overview of Woolf’s life and writing. “Woolf’s inquiry into illness and its impact on the mind is paired with her mother’s observations about caring for the body. Julia Stephen . . . had no professional training but took to heart Florence Nightingale’s precept that every woman is a nurse and emulated Nightingale’s best-selling Notes on Nursing with her own “Notes from Sick Rooms.” In this long-overlooked, precise, and piquant little manual, Stephen is compassionate and ironic, observing that everyone deserves to be tenderly nursed while addressing the small evil of crumbs in bed. This unprecedented literary reunion of mother and daughter is stunning on many fronts, but physician and literary scholar Rita Charon focuses on the essentials in her astute afterword, writing that Woolf’s perspective as a patient and Stephen’s as a nurse together illuminate the goal of care—to listen, to recognize, to imagine, to honor.” —Booklist “Woolf and Stephen will certainly change the way readers think of illness.” —Publishers Weekly
Damon Wildeve, a local innkeeper known for his fickleness is preoccupied with Eustacia Vye, an exotically beautiful young woman who broke up with him when Clym, a successful diamond merchant, returned from Paris to his native Egdon Heath. Eustacia sees him as a way to escape the hated heath and begin a grander, richer existence in a glamorous new location. When he sees that Eustacia is lost to him, Wildeve marries Thomasin Yeobright, who gives birth to a daughter. After realizing that Clym won't fulfill her dreams, Eustacia becomes desperate, but another opportunity shows up. Wildeve has unexpectedly inherited a large sum of money, and is now in a better position to fulfill Eustacia's hopes, but he now has a wife and a child.
Why buy our paperbacks? Expedited shipping High Quality Paper Made in USA Standard Font size of 10 for all books 30 Days Money Back Guarantee BEWARE of Low-quality sellers Don't buy cheap paperbacks just to save a few dollars. Most of them use low-quality papers & binding. Their pages fall off easily. Some of them even use very small font size of 6 or less to increase their profit margin. It makes their books completely unreadable. How is this book unique? Unabridged (100% Original content) Font adjustments & biography included Illustrated The Return of the Native by Thomas Hardy The Return of the Native is Thomas Hardy's sixth published novel. It first appeared in the magazine Belgravia, a publication known for its sensationalism, and was presented in twelve monthly installments from January to December 1878. Because of the novel's controversial themes, Hardy had some difficulty finding a publisher; reviews, however, though somewhat mixed, were generally positive. In the twentieth century, The Return of the Native became one of Hardy's most popular novels. The novel takes place entirely in the environs of Egdon Heath, and, with the exception of the epilogue, Aftercourses, covers exactly a year and a day. The narrative begins on the evening of Guy Fawkes Night as Diggory Venn is slowly crossing the heath with his van, which is being drawn by ponies. In his van is a passenger. When darkness falls, the country folk light bonfires on the surrounding hills, emphasising-not for the last time-the pagan spirit of the heath and its denizens.
This Element brings together the history of emotions and temporalities, offering a new perspective on both. Time was often imagined as a movement from the past to the future: the past is gone and the future not yet here. Only present-day subjects could establish relations to other times, recovering history as well as imagining and anticipating the future. In a movement paralleling the emphasis on the porous self, constituted by emotions situated not inside but between subjects, this Element argues for a porous present, which is open to the intervention of ghosts coming from the past and from the future. What needs investigating is the flow between times as much as the creation of boundaries between them, which first banishes the ghosts and then denies their existence. Emotions are the most important way through which subjects situate and understand themselves in time.
