Reproduction of the original: Letters To Eugenia by Baron D’holbach

From the author of The Calligrapher's Daughter comes the riveting story of two sisters, one raised in the United States, the other in South Korea, and the family that bound them together even as the Korean War kept them apart.

In these two “astonishing” novellas (The New Yorker), the Booker Prize-winning author of Possession returns to the landscape of Victorian England, where science and spiritualism are popular manias, and domestic decorum coexists with brutality and perversion. "At once quirky and deep, brimming with generosity, imagination, and intelligence." —The New Yorker In Morpho Eugenia, an explorer realises that the behaviour of the people around him is alarmingly similar to that of the insects he studies. In The Conjugal Angel, curious individuals – some fictional, others drawn from history – gather to connect with the spirit world. Throughout both, Byatt examines the eccentricities of the Victorian era, weaving fact and fiction, reality and romance, science and faith into a sumptuous, magical tapestry.

Frances Burney's 'FANNY BURNEY Ultimate Collection' is a comprehensive compilation of the author's works, including her complete novels, a play, essays, diary entries, letters, and biography, all of which are beautifully illustrated. Burney's literary style is characterized by wit, humor, and keen observations of 18th-century society, making her a significant figure in the development of the novel as a form of social commentary. The collection provides readers with a comprehensive understanding of Burney's literary contributions and her place in the literary landscape of her time. The inclusion of various genres showcases Burney's versatility as a writer, making this collection a must-read for fans of classic literature. Frances Burney, as a prominent female novelist of the 18th century, drew from her own experiences as a woman living in a patriarchal society to create complex female characters and explore themes of identity, love, and marriage. Her unique perspective and ability to blend humor with social critique set her apart from her contemporaries and established her as a leading voice in English literature. The 'FANNY BURNEY Ultimate Collection' is a testament to her enduring legacy. I highly recommend 'FANNY BURNEY Ultimate Collection' to readers interested in exploring the works of a pioneering female author from the 18th century. Burney's insightful commentary on society and engaging storytelling make this collection a valuable addition to any literary enthusiast's library.

What will it take for a cynical older sister to realize she’s a born accordion player — with music in her heart? Eugenia Lincoln is a practical person with no time for gee-gaws, whoop-de-whoops, or frivolity. When an unexpected package containing an accordion arrives at her house, she is determined to have nothing to do with it. But her plans to sell the accordion, destroy the accordion, or give the accordion away all end in frustration. How can Eugenia stop being tormented by this troublesome package — and could she discover that a bit of unforeseen frivolity might actually be surprisingly . . . joyous?

Musaicum Books presents to you this meticulously edited collection of works by the great Frances Burney - her complete novels, as well as plays, journals, diaries and essays, complemented with biography. Burney's novels explore the lives of English aristocrats, and satirize their social pretensions and personal foibles, with an eye to larger questions such as the politics of female identity. She has gained critical respect in her own right, but she also foreshadowed such novelists of manners with a satirical bent as Jane Austen and Thackeray. Novels: Evelina Cecilia Camilla The Wanderer Plays: The Witlings Journals & Diaries: The Diary and Letters of Madame D'Arblay Other Works: Brief Reflections Relative to the French Emigrant Clergy Biography: Fanny Burney by Austin Dobson Frances Burney (1752-1840) was an English satirical novelist, diarist and playwright. She is best known for her novels Evelina, Cecilia, Camilla and The Wanderer.

In Eugenia, the title character is a Welsh girl of good birth who believes herself to be married to a wealthy young Earl. In fact, the Earl has deliberately misled her and knowingly had arranged a fraudulent wedding ceremony; their union is invalid, but Eugenia is already pregnant, and the Earl is only days away from a legitimate marriage to another woman. Even Eugenia does not know his secret, but with his new wedding fast approaching, he cannot keep his shameful behavior hidden much longer. Will he give in to his true love for Eugenia and save her from a life of indignity, or will he follow the wishes of others and marry according to his own family's demands? Duels, disownments and near-death experiences abound in this famous play of the 18th century.The play Eugénie (as it's called in French) premiered in Paris in 1767 and had "acquired acclaim for itself before it had even graced the stage." It was the first feature play of author Pierre-Augustin Caron de Beaumarchais, who already was well known for his literary accomplishments; he'd gotten his start arguing his rights to a patent through publicly published letters, and had made a splash internationally with his account of his adventures in Spain while he was attempting to force an unfaithful lover of his sister's to do right by her; this story was adapted into a play in his own lifetime, by none other than Johann Wolfgang von Goethe. Beaumarchais had written some theater as well, but prior to Eugénie all of his scripts had either been rejected by the theaters, or else were simple one-act comedies (parades) intended for performance at private functions. Eugénie was his first serious play, but it was a success. The genre is known now as drame bourgeois, and was seen at the time as a halfway point between comedy and tragedy. William Howarth, in this book Beaumarchais and the Theater, indicates that the playwright had originally set his story in Brittany, and developed the English setting at a later point for uncertain reasons - perhaps to play off the mood of fashionable sentimental English stories such as those by Samuel Richardson, which were extremely popular at the time. The new setting did, however, create some problems: as Englishwoman Elizabeth Griffiths wrote in the introduction to her contemporary adaptation The School for Rakes, she found Beaumarchais had "unluckily adopted Spanish manners" for his English characters and did not demonstrate a familiarity with local laws and customs, and in her case she realized the troubles caused by the cultural mismatch to be so numerous that she had to resort to merely adapting the play rather than translating. To my knowledge, this book which you hold in your hands is the first ever direct English translation of Eugénie to have seen print. After the initial premier, Eugénie was extremely well-received, and even moreso after Beaumarchais made some cuts to the play's copious running time (which changes were reflected in the printed editions.) It found itself being one of the first plays known to be performed in New Orleans in the French colony of Louisiana, and early printings of The Barber of Seville were always certain to announce on the title page that the play was "from the author of Eugénie."

They met in the rebellious campus of Columbia University during the 1960s, the days of the Civil Rights, women’s movement and the anti-Vietnam war protests. Jenny was a post-grad aspiring to transform her activism into a journalistic crusade; Siegfried a young and handsome German law student charismatic and unyielding haunted by his family’s past. Random encounters soon turned into sleepless nights; a passionate love story was born! In 1968 Siegfried arrived in Rhodesia (current day Zimbabwe) a break-away British colony in Southern Africa, as a member of a legal U.N. team to investigate human rights violations and a few weeks later Jenny flies there to meet him with her wedding gown in her suitcase. Here in this exotic but racially segregated paradise, the couple witnessed in the impoverished African townships and the countryside, what oblivious white settlers refuse to accept, and what the hardline white regime’s propaganda machine systematically conceals: a fast-approaching African revolution. When Jenny crossed paths with an unconventional and scientific warfare contractor, an immense figure of unparallel political influence, wealth and charms and repressive colonial military background, she will -unintentionally- find herself in the shadowy corridors of Southern Africa’s deep state operating behind the mainstream political smokescreen. She will also discover a dark side she never imagined existed: her own. Placed against a historical backdrop that spans from the hedonistic Cabaret Berlin of 1920s, wartime Germany and Nazi occupied Greece to the 1960s America, and the apartheid era in South Africa; And from Southern Africa’s killing fields to the 108th floor of World Trade Center’s north tower on September 11, 2001, Ms. Y is a cross-genre psychological drama, epic in scope, that deconstructs rather than glorifies power, examines the depths of human controversy, delivers provocative social messages and blends history, mythical allegory and fictional narrative in a fast-pacing plot dominated by three bigger than controversial protagonists tested by love and promiscuity, moral conflicts and momentous circumstances.

In early twentieth-century China, Chen Diexian (1879–1940) was a maverick entrepreneur—at once a prolific man of letters and captain of industry, a magazine editor and cosmetics magnate. He tinkered with chemistry in his private studio, used local cuttlefish to source magnesium carbonate, and published manufacturing tips in how-to columns. In a rapidly changing society, Chen copied foreign technologies and translated manufacturing processes from abroad to produce adaptations of global commodities that bested foreign brands. Engaging in the worlds of journalism, industry, and commerce, he drew on literati practices associated with late-imperial elites but deployed them in novel ways within a culture of educated tinkering that generated industrial innovation. Through the lens of Chen’s career, Eugenia Lean explores how unlikely individuals devised unconventional, homegrown approaches to industry and science in early twentieth-century China. She contends that Chen’s activities exemplify “vernacular industrialism,” the pursuit of industry and science outside of conventional venues, often involving ad hoc forms of knowledge and material work. Lean shows how vernacular industrialists accessed worldwide circuits of law and science and experimented with local and global processes of manufacturing to navigate, innovate, and compete in global capitalism. In doing so, they presaged the approach that has helped fuel China’s economic ascent in the twenty-first century. Rather than conventional narratives that depict China as belatedly borrowing from Western technology, Vernacular Industrialism in China offers a new understanding of industrialization, going beyond material factors to show the central role of culture and knowledge production in technological and industrial change.