Introducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange-from rivalry to inspiration to collaboration-between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900. This collection puts forward a more complex history of the relationship between art and music than has been described in earlier works, including an intermixing of models and distinctions between approaches to them. Individual essays from art history, musicology, and literature examine the growing influence of art upon music, and vice versa, in the works of Berlioz, Courbet, Manet, Fantin-Latour, Rodin, Debussy, and the Pre-Raphaelites, among other artists.

Tragedy pushed them apart. Can troubled times bring them back together? Hannah and Nat were teenagers when their mum died in a terrible accident. The pain of it tore them apart, creating a rift that they've never been able to bridge. Neither is able to understand or appreciate her sister's perspective, each quick to be riled by the other. Both women have been indelibly shaped by the tragedy. Hannah is controlling, desperate to protect her loved ones in a way she failed to do with her mum. Meanwhile, Nat is forever running from the 'selfish daughter' label that she was marked with after the accident. Now secrets in both women's lives threaten to bring them down. Help may be close at hand, but neither can see it. But with life falling apart and the truth in short supply, can they finally see past their differences to the bond that could bring them together?

Much acclaimed amongst her contemporaries and yet all but forgotten today, Marie-Louise Gagneur was a defining voice in French feminism. These stories, translated into English for the first time, critique the restrictions of late nineteenth-century society and explore the ways in which both men and women are hurt by rigid attitudes towards marriage. In the title story, the Count de Montbarrey awakes one morning to find his wife dead, leaving him free to marry the woman he really loves. Could the Count have accidentally killed his wife? And how can he atone for his crime? 'Three Rival Sisters' tells the story of the rivalry between Henriette, Renée and Gabrielle as they compete for the affections of one man. But marriage does not necessarily guarantee happiness, as the sisters are about to find out. Steeped in wit, empathy and biting social criticism, and with echoes of Charlotte Perkins Gilman and Kate Chopin, the stories show Gagneur to be worthy of renewed attention.

Introducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange - from rivalry to inspiration to collaboration - between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900.

"Partners both in throne and grave, here rest we two sisters Elizabeth and Mary, in the hope of one resurrection." This inscription is visible on the tomb where Elizabeth I and her half sister, Mary I, lie buried together in one vault in the North Aisle of Henry VII's Lady Chapel in Westminster Abbey. It is the relationship between Elizabeth and her Scottish cousin Mary Stuart that is often discussed and pondered over while the relationship between Elizabeth and her own half sister is largely forgotten. Yet it is the relationship with Mary Tudor that forged Elizabeth's personality and set her on the path to queenship. Mary's reign was the darkest period in Elizabeth's life. "I stood in danger of my life, my sister was so incensed against me," Elizabeth reminded her councillors when they pressed her to name a successor.It is time to tell the whole story of the fierce rivalry between the Tudor half sisters who became their father's successors.

INSTANT NEW YORK TIMES BESTSELLER—NOW A HALLMARK+ ORIGINAL SERIES! A REESE'S BOOK CLUB PICK “A charming, hilarious, feel-good story about the kind of bonds & rivalries only sisters can share. Also, a great present for your sister for the holidays!!”—Reese Witherspoon Three generations. Two chicken shacks. One recipe for disaster. In tiny Merinac, Kansas, Chicken Mimi's and Chicken Frannie's have spent a century vying to serve up the best fried chicken in the state—and the legendary feud between their respective owners, the Moores and the Pogociellos, has lasted just as long. No one feels the impact more than thirty-five-year-old widow Amanda Moore, who grew up working for her mom at Mimi's before scandalously marrying Frank Pogociello and changing sides to work at Frannie's. Tired of being caught in the middle, Amanda sends an SOS to Food Wars, the reality TV restaurant competition that promises $100,000 to the winner. But in doing so, she launches both families out of the frying pan and directly into the fire. . . The last thing Brooklyn-based organizational guru Mae Moore, Amanda's sister, wants is to go home to Kansas. But when her career implodes, helping the fading Mimi's look good on Food Wars becomes Mae's best chance to reclaim the limelight—even if doing so pits her against Amanda and Frannie's. Yet when family secrets become public knowledge, the sisters must choose: Will they fight with each other, or for their heritage?

A new meaning for office politics Audrey Mathews has worked hard to get here. Now she's up for a promotion and nothing will stand in her way—including Zach Black. He's hot, smart and the competition. When they're assigned to the same project, she's shocked at how much she actually likes about him…and how much she misjudged him. Before long Audrey is seriously falling for Zach—and indulging in an affair that's against company policy. And the stakes rise when it's clear only one of them can get ahead. So where do they draw the line between competition and love? Especially when she doesn't want to lose either the promotion or the guy….