By Candice Hern
"Fans of the normal Regency Romances of Georgette Heyer, Barbara Metzger, and Jo Beverley will get pleasure from this witty, exciting romance from manhattan occasions bestselling writer Candice Hern. Meg Ashburton's unmarried London Season were a catastrophe. thin, red-haired, and 6-feet tall, she were neglected as a trifling gawky bumpkin via all of Society, specially via the gents. apart from one guy. Lord Sedgewick had danced together with her, and he or she had secretly fallen in love with him. Now, six years later, a carriage coincidence close to Meg's nation domestic unearths a seriously-injured Sedge considering he's lifeless, with a red-haired angel bending over him. Meg does her top to insure that the single guy she's ever enjoyed doesn't die whereas lower than her family's care. As he recovers, she has a moment likelihood at love with him. but if he ultimately makes her a suggestion, it's not the kind that Meg can settle for. Or can she?
From a well-known stud farm within the Suffolk nation-state to the ballrooms of London, Regency England comes alive during this captivating romance.
""Ms. Hern exquisitely develops her attractive love tale with richly textured characterizations and impeccable craftsmanship.""
Read or Download An Affair of Honor (Regency Rakes, Book 3) PDF
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Additional info for An Affair of Honor (Regency Rakes, Book 3)
Influenced by the general movement of literary realism, where the author himself provided a significant amount of concrete detail in his fiction, as well as by a growing interest in photography, because of the camera's ability to capture detail in its exactness, and audience desire for photographic realism, serial illustration from the 1860s to the century's end increasingly emphasized the concrete detail of the illustrated scene. The Pre-Raphaelite illustrators customarily used models to aid them in creating realistic drawings, and some (Rossetti, for instance) even used photographs as an aid.
After overhearing two men venting their dislike of the character Mrs. " This kind of impulsive responsiveness brought its own problems, as Trollope later discovered: "I have sometimes regretted the deed, so great was my delight in writing about Mrs. " 19 The ability of the author to change direction while he was actually publishing the novel put the illustrator at a disadvantage, since he did not have the completed manuscript', with all the character disposition, at hand. Later in the century, when it became more the practice to submit the completed manuscript to an editor (and illustrator), the advantage in author responsiveness was lost, but the illustrator or editor had the advantage of knowing the complete story, and could select a well balanced set of scenes for illustration.
A more specific examination of the aesthetic basis of representational illustration occurs later, but for now, it is enough to realize that such a basis does exist, and certainly extends beyond the more obvious issues of clarification-entertainment. Though a significant amount of illustration after 1870 did not stop at textual clarification and sought to expand the text in a variety of ways, much of the illustration of the time was purely descriptiverepresentationalism in its blandest form. At times, this kind of illustration was perfectly respectable, but ran the risk of being redundant, even perfunctory.