Pulitzer Prize-winning author Booth Tarkington has an amazingly deft touch with characterization, and the tense relationship between town flirt Cora Madison and her quieter sister Laura is so compelling that the story has been the basis for a number of filmed versions. As with Tarkington's later novel The Magnificent Ambersons, The Flirt is a thoroughly entertaining portrait of a dysfunctional but ultimately loving family.
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He spotted her on the beach, and could not help but think he had seen her before… note: only 600 words
Tongues were set wagging when Elizabeth Markham's glamorous young parents were killed, leaving their only child to the unspeakable class of poor relation. Forced to live with her cruel, miserly uncle Julius, Elizabeth was forbidden to participate in the season's festivities. Elizabeth realized that marriage was her only escape, and she decided on a daring plan: she would trick her way into the Duke of Dunster's exclusive house party and snare one of the eligible bachelors sure to be happy to dance with her. Elizabeth's plan succeeded swimmingly, as she flirted with everyone with the exception of the arrogant Lord Charles Lufford, who was considered by those in the know to be quite a catch. She ignored Charles thoroughly until her uncle discovered her deception and it was, of all people, Charles who saved her - by announcing their engagement! But Elizabeth's troubles were far from over. In her absence she had come into an inheritance and her uncle, along with another sinister party, would rather see her dead than receive.
This book is 100 pages of Fun, Romance and Intrigue; rhyming and chiming all the way. Man Woman and the Flirt traverses love in an innocently funny way. Set in contemporary urban situations, the poems celebrate the joy of life and joy of love. Sometimes pacy and sometimes flirty, the poems remind you to smile and not take life too seriously.
In the flirtation plots of novels by Jane Austen, Charlotte Brontë, and W. M. Thackeray, heroines learn sociability through competition with naughty coquette-doubles. In the writing of George Eliot and Thomas Hardy, flirting harbors potentially tragic consequences, a perilous game then adapted by male flirts in the novels of Oscar Wilde and Henry James. In revising Gustave Flaubert’s Sentimental Education in The Age of Innocence, Edith Wharton critiques the nineteenth-century European novel as morbidly obsessed with deferred desires. Finally, in works by D. H. Lawrence and E. M. Forster, flirtation comes to reshape the modernist representation of homoerotic relations. In The Flirt’s Tragedy: Desire without End in Victorian and Edwardian Fiction, Richard Kaye makes a case for flirtation as a unique, neglected species of eros that finds its deepest, most elaborately sustained fulfillment in the nineteenth-century and early twentieth-century novel. The author examines flirtation in major British, French, and American texts to demonstrate how the changing aesthetic of such fiction fastened on flirtatious desire as a paramount subject for distinctly novelistic inquiry. The novel, he argues, accentuated questions of ambiguity and ambivalence on which an erotics of deliberate imprecision thrived. But the impact of flirtation was not only formal. Kaye views coquetry as an arena of freedom built on a dialectic of simultaneous consent and refusal, as well as an expression of "managed desire," a risky display of female power, and a cagey avenue for the expression of dissident sexualities. Through coquetry, novelists offered their response to important scientific and social changes and to the rise of the metropolis as a realm of increasingly transient amorous relations. Challenging current trends in gender, post-gender, and queer-theory criticism, and considering texts as diverse as Darwin’s The Descent of Man and Gilbert and Sullivan’s The Mikado, Kaye insists that critical appraisals of Victorian and Edwardian fiction must move beyond existing paradigms defining considerations of flirtation in the novel. The Flirt’s Tragedy offers a lively, revisionary, often startling assessment of nineteenth-century fiction that will alter our understanding of the history of the novel.
From the New York Times bestselling author of The Perfume Collector comes this charming, witty novel about a “professional” flirt. “Unique situation for an attractive, well-mannered, morally flexible young man. Hours irregular. Pay generous. Discretion a must…” When struggling, out-of-work actor, Hughie Venables-Smythe sees the mysterious job description in the classifieds, he’s convinced he’s found his destiny. For, though he’s become accustomed to running out of credit on his cell phone, sleeping on his sister’s sofa, and begging the waitress at the local café to let him slide yet again on his bill, he longs to treat his lover—the sexy, sophisticated, and amorously ruthless lingerie designer, Leticia Vane, to the finer things in life. But how is he to win her heart if he can’t even pay for dinner? When he learns that his lucrative new position means flirting with married women who have been neglected by their spouses, he can’t believe his luck. Soon initiated into the extraordinary secret fraternity of the Professional Flirt, Hughie promises to have an exceptional career ahead of him. However, the life of a Flirt is a curiously lonely calling and there’s one absolute rule his new employer has: he must remain single. Only—how can he live without the delicious Leticia Vane? Surely, there’s nothing wrong with using a few of his newly polished romantic skills on the side to quietly seduce the woman he loves . . . is there? As clueless as he is handsome, Hughie gamely decides to throw his already complicated life into utter chaos . . . and discovers exactly why a Flirt’s professional and personal life should never mix.