What happens when the Mad Matchmakers of Waterloo join forces to find wives for each other? Delectable chaos. And no woman in London is safe.Welcome to book 1 in the fabulous new series from USA Today Bestselling Author Barbara Devlin.A WOUNDED WARRIORBritish Army Major Anthony Erasmus Hildebrand Bartlett, 7th Marquess of Rockingham, returns to London a tortured soul after losing an arm at Waterloo. Suffering incomprehensible terror from his wartime experiences, or what is referred to as nostalgia, Anthony is now the sole heir to a dukedom and a betrothal he doesn’t want. He wishes he died on the front lines with his elder brother, and the last thing he needs is a wife. Can Anthony find the will to live again?A RELUCTANT DEBUTANTELady Arabella is not so sanguine about her prospects, because she doesn’t want to marry anyone. That Anthony is injured and may be mad is the least of her concerns. Smart and perceptive, she sees through the tormented soldier’s pain, offering comfort and support that reaches through the fog to awaken him, and she is drawn to her fiancé. When the duke imprisons Anthony in an asylum, Arabella must rely on her wit and wisdom to free the man she loves.The Mad Matchmaking Men of Waterloo is an #ownvoices seriesThe Accidental DukeThe Accidental GroomThe Accidental Hero
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Paperback. Etat : Good. Examines literary depictions of mannish pregnant women and metaphors of male pregnancy to reframe the relationship between creativity and gender in modernism.Who is taken seriously as an artist? What does gender have to do with it? Is there a relationship between artistic creation and physical procreation? In Masculine Pregnancies, Aimee Armande Wilson argues that modernist writers used depictions of mannish pregnant women and metaphors of male pregnancy to answer these questions. The book places masculine pregnancies in works by Djuna Barnes, Willa Cather, William Faulkner, and Ezra Pound in the context of interwar debates about eugenics, immigration, midwifery, and sexology in order to redefine the relationship between creativity and gender in modernism. Attending to recent developments in queer theory, Wilson challenges the critical assumption that figures of masculine pregnancy necessarily reinforce oppressive norms. The book's first half shows how some writers indeed used such figures to delegitimize artists who were not white, male, and heterosexual. The second half then shows how others used masculine pregnancies to extend legitimacy to mannish women, dark-skinned immigrants, and their (pro)creations-and did so a century before the current boom in queer pregnancy narratives. N° de réf. du vendeur CIN1953455867G
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