Catriona Lydgate is a housewife with two children and an adoring husband. But beneath the surface of her seemingly perfect life are the dark secrets of the past she's tried to forget. Disturbing postcards begin arriving in the mail; she is recognized by a man who knew her from her past -- an avalanche of small moments that will threaten everything she thought was real. When her youngest daughter falls ill with a mysterious illness, the doctors and even her husband suspect that she is deliberately making her child sick. As her marriage unravels, she comes dangerously close to the edge -- and to losing everything that she loves -- as the past she has fought so hard to bury becomes her witness and prosecutor. This is a haunting, heartbreaking novel: domestic fiction at its very finest.
"Lurie takes particular interest in the influence of cinema on Faulkner's fiction and the visual strategies he both deployed and critiqued. These include the suggestion of cinematic viewing on the part of readers and of characters in each of the novels; the collective and individual acts of voyeurism in Sanctuary and Light in August; the exposing in Absalom! Absalom! and Light in August of stereotypical and cinematic patterns of thought about history and race; and the evocation of popular forms like melodrama and the movie screen in If I forget thee, Jerusalem. Offering innovative readings of these canonical works, this study sheds new light on Faulkner's uniquely American modernism."--BOOK JACKET.
Jessica Chambers stared into the deep blue eyes of her baby's father and saw a stranger. The ranch hand with amnesia whom she'd called "Joe" was gone forever. For Prince Lucas Sebastiani had regained his memory and his life--and now he had come to claim the mother of his child as his future queen. But although her body burned for his sensual touch, Jessica knew she must resist. Her regal suitor spoke of privilege and duty but said nothing of the feelings in his heart for his commoner bride. And though Lucas had laid his kingdom at Jessie's feet, all she wanted was his love....
James L. Machor offers a sweeping exploration of how American fiction was received in both public and private spheres in the United States before the Civil War. Machor takes four antebellum authors—Edgar Allan Poe, Herman Melville, Catharine Sedgwick, and Caroline Chesebro'—and analyzes how their works were published, received, and interpreted. Drawing on discussions found in book reviews and in private letters and diaries, Machor examines how middle-class readers of the time engaged with contemporary fiction and how fiction reading evolved as an interpretative practice in nineteenth-century America. Through careful analysis, Machor illuminates how the reading practices of nineteenth-century Americans shaped not only the experiences of these writers at the time but also the way the writers were received in the twentieth century. What Machor reveals is that these authors were received in ways strikingly different from how they are currently read, thereby shedding significant light on their present status in the literary canon in comparison to their critical and popular positions in their own time. Machor deftly combines response and reception criticism and theory with work in the history of reading to engage with groundbreaking scholarship in historical hermeneutics. In so doing, Machor takes us ever closer to understanding the particular and varying reading strategies of historical audiences and how they impacted authors’ conceptions of their own readership.