By Emily Giffin
From the writer of the spoil hits anything Borrowed and whatever Blue comes a unique that explores the query: is there ever a deal-breaker in terms of real love? First comes love. Then comes marriage. Then comes . . . a toddler carriage? Isn't that what all girls wish? no longer so for Claudia Parr. And simply as she provides up on discovering a guy who feels a similar approach, she meets hot, impressive Ben. issues look too stable to be real after they fall in love and conform to greenback culture with a delightful, child-free marriage. Then the unforeseen happens: one in every of them has a metamorphosis of middle. certainly one of them desires young children in spite of everything. this can be the witty, heartfelt tale approximately what occurs to the fitting couple once they unexpectedly wish various things. It's approximately feeling that your existence is decided after which knowing that not anything is as you idea it was—and that there's no attainable compromise. It's approximately finding out what's most vital in existence, and taking percentages to get it. yet so much of all, it's concerning the issues we are going to do—and won't do—for love.
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Google Book Search. Accessed online 19 Jan. 2010. Review of The Merchant’s Daughter, by the Author of The Heiress, Agnes Serle, &c. [Ellen Pickering]. Athenaeum 477 (17 Dec. 1836): 883–4. Review of Vivian Grey. The London Literary Gazette 528 (3 Mar. 1827): 134. Google Book Search. Accessed online 20 Jan. 2010. Rosa, Matthew W. The Silver-Fork School: Novels of Fashion Preceding Vanity Fair (1936). Port Washington, NY: Kennikat Press, 1964. The Silver Fork Novel Sutherland, John. The Stanford Companion to Victorian Fiction.
High Life (1827), A Marriage in High Life (1828), The Young Duke, The Fair of Mayfair (1832), The Victims of Society – these are typical titles which announce their aristocratic subjects. Reviewers repeatedly suggested that these novels were written according to a formula which included a ball at Almack’s, a duel, a visit to a gambling club such as Crockford’s, an arranged marriage, and at least the suspicion of adultery. The Athenaeum suggested that such novels typically included “coronets, fine gentlemen, and still finer ladies, court plumes, diamond necklaces, the Prince Regent, masquerades, money-lenders, vindictive Italians, vicious tempered old dowagers, gay Lotharios” and that it was a great curiosity if a novel lacked the “dukes, silver forks, kitchen stuff, mysteries, foundlings, murders, suicides, dueling” of silver fork fiction (qtd.
At the height of their popularity, silver forks dominated the circulating libraries. In 1838, the London Statistical Society tabulated the volumes held by ten of the humbler libraries. Of the 2,191 volumes available, 1,488 (68 percent) were fashionable novels. ,” 439 were “Fashionable Novels, well known,” and 1,008 were “novels of the lowest character, being chiefly imitation of Fashionable Novels, containing no good, although probably nothing decidedly bad” (Altick 1957: 217–18). While this list counts volumes and not titles, it still attests to the popularity of fashionable novels, as well as indicating the breadth of that popularity.
Baby Proof by Emily Giffin