This vintage book contains Dame Rose Macaulay's 1921 novel, “Dangerous Ages”. A young writer with a sizeable family returns to college as a way to spend her free time, but finds that she is perhaps not as sharp as she once was. Sick of her chaotic family, she decides to settle down, but realises that her boyfriend was no longer wiling to wait and has fallen for someone else... and her own niece, no less. Struggling with all the commitments that come with a large family, she endeavours to put her life back together again. Dame Emilie Rose Macaulay (1881 – 1958) was an English writer. She is most famous for the award-winning novel “The Towers of Trebizond” (1956). Many vintage books such as this are increasingly scarce and expensive. We are republishing this volume now in an affordable, modern edition complete with a specially commissioned new introduction.
Four best friends--Lucy, whose marriage is crumbling; Sarah, an actress in danger of losing her socialite standing; Billy, an aspiring cuisine artist; and Lotta, a party-girl art dealer--endure a sweltering Manhattan summer marked by self-destructiveness and the end of their carefree years.
Excerpt from Dangerous Ages Neville, at five o'clock (nature's time. Not man's) on the morning of her birthday, woke from the dream-broken sleep of summer dawns, hot with the burden of two sheets and a blanket, roused by the multitudinous silver calling of a world full of birds. They chattered and bickered about the creepered house, shrill and sweet, like a hundred brooks running together down steep rocky places after snow. And, not like brooks, and strangely unlike birds, like, in fact, nothing in the world except a cuckoo clock, a cuckoo shouted foolishly in the lowest boughs of the great elm across the silver lawn. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Elsie Lindtner is a woman at the "dangerous age" of forty-two in a society that values women only as marriageable items. After twenty-two years of comfortable but loveless marriage, Elsie divorces her husband and goes off to live alone on an island. But little by little her longing for solitude is tempered by the realities of loneliness and sexual deprivation. First published in 1910 to raves and outrage, selling over a million copies and inspiring three films, The Dangerous Age created a sensation. Its author was, according to the New York Times, "simply the most talked of personality in Europe," and in time she inspired Colette, and befriended Bertolt Brecht and other artists fleeing the Nazi. Eighty years later, Karin Micha�lis's lost masterpiece remains as timely and compelling as the day it was written.
This book is the first collection on the British author Rose Macaulay (1881-1958). The essays establish connections in her work between modernism and the middlebrow, show Macaulay’s attentiveness to reformulating contemporary depictions of gender in her fiction, and explore how her writing transcended and celebrated the characteristics of genre, reflecting Macaulay’s responses to modernity. The book’s focus moves from the interiorized self and the psyche’s relations with the body, to gender identity, to the role of women in society, followed by how women, and Macaulay, use language in their strategies for generic self-expression, and the environment in which Macaulay herself and her characters lived and worked. Macaulay was a particularly modern writer, embracing technology enthusiastically, and the evidence of her treatment of gender and genre reflect Macaulay’s responses to modernism, the historical novel, ruins and the relationships of history and structure, ageing, and the narrative of travel. By presenting a wide range of approaches, this book shows how Macaulay’s fiction is integral to modern British literature, by its aesthetic concerns, its technical experimentation, her concern for the autonomy of the individual, and for the financial and professional independence of the modern woman. There are manifold connections shown between her writing and contemporary theology, popular culture, the newspaper industry, pacifist thinking, feminist rage, the literature of sophistication, the condition of ‘inclusionary’ cosmopolitanism, and a haunted post-war understanding of ruin in life and history. This rich and interdisciplinary combination will set a new agenda for international scholarship on Macaulay’s works, and reformulate contemporary ideas about gender and genre in twentieth-century British literature.
The transition from Latin to vernacular languages in the late Middle Ages and the dramatic rise of a new readership produced a huge bulk of translations, particularly of religious literature in its various genres. The solutions are so multifarious that they defy any attempt to outline general theories. This is particularly visible when the same text is translated or rewritten at different times and in different languages or genres. Through a minute analysis of texts this book aims at highlighting lexical, syntactic and stylistic choices dictated not only by the source but also by new readers and patrons, or by new destinations of the works. Established categories such as 'literalness' and 'fidelity' are thus questioned and integrated with these other factors which, while being more 'external', do nonetheless impinge on the very idea of 'translation', and consequently on its assessment. Far from being a mere transfer from one language to another, a medieval translation verges on a form of creative writing, and as such its study becomes a fascinating investigation into the very process of textual production.