Miss Emma Harlow hasn't earned the reputation as a hoyden for nothing, so when the Duke of Trent discovers her in his conservatory stealing one of his orchids, he's isn't surprised-charmed, delighted and puzzled, yes, but not surprised. It is Emma who is amazed. She has naturally concluded that the man reading in the conservatory must be the country cousin (who else in London would actually read?) and is quite vexed to discover that he is the Duke of Trent himself-imagine, stealing the duke's prize Rhyncholaelia digbyana under his very nose! But her vexation doesn't last long. For Emma is a practical young lady with a mission: to end her dear sister Lavinia's engagement to the villainous (and dreadfully dull!) Sir Waldo Windbourne, and she thinks that the famous libertine is just the man for the job. If he would only seduce her sister away from Sir Waldo.... Well, not seduce exactly, but flirt mercilessly and engage her interest. Perhaps then Lavinia would jilt the baron. The Duke of Trent is resistant, of course. Despite his reputation, he does not toy with the affections of innocents. And besides, it's not her sister he longs to seduce.

A PATENT FOR PASSION No, no, no! It doesn't matter how many times the Duchess of Trent (The Harlow Hoyden) requests her help with a delicate matter regarding a patent for her sister's invention, Tuppence Templeton will not lend a hand. She has a habit, yes, of coming up with ingenious plans to solve other people's problems, and it is true that she's clever and daring enough to pull off the proposed scheme. But there's no way she's going to confront the arrogant and dismissive Earl of Gage again. She is still shaken--or is it stirred?--from their last encounter when, rather than thank her for saving his sister from ruin, he railed against her for having the temerity to interfere in his family's business. And yet somehow when the opportunity arises, she finds herself unable to resist issuing the challenge. Nicholas Perceval, Earl of Gage, cannot believe it when the impertinent upstart who exposed his sister to disaster maneuvers him into escorting her to the Bill Patent Office. What a perfectly ridiculous request! And then to discover that she manipulated him while they were there so that she could "find" a missing application--he has never been so angry in his entire life. And it's not because he'd unexpectedly enjoyed her charming and irreverent company. No, that has nothing to do with it at all. Although perhaps maybe a little...

Life at Fashionista magazine can be a real bitch. Especially when you work for one. Vig Morgan finally worked her way out of the assistant-for-the-bitch-from-hell trenches only to get stuck in a sea of editors. But Vig isn't like the other associate editors at the aggressively hip and overwhelmingly current Fashionista magazine. For one thing, she couldn't care less which star wore which designer to which party. Sure, she's clever and witty—and just as ambitious as the next overqualified underpaid underling, but she would never get drawn into a plot to depose the evil editor-in-chief. Or would she? Jump with Vig into the choppy waters of scheming, backstabbing, free speech, flirtation and fashion, as the lackeys at the bottom of the masthead band together to take down the queen at the top, with some unexpected—but not necessarily unpleasant—results.

Hattie Cross knows what you're thinking: Zombie sex? Ewwwww. But she also knows that since a virus turned 99.9999 percent of human males into zombies, it's statistically impossible to meet--let alone date--the remaining 0.00001 percent. So she writes "The Girls' Guide to Dating Zombies" to help her fellow single women navigate the zombie-relationship waters. Her practical how-to impresses the CEO of the largest drug company in the world, and before she knows it, Hattie, a reporter for a downmarket tabloid that specializes in conspiracy theories, is sitting down with the woman who single-handedly invented the zombie-behavioral-modification market. Granted access to the inner sanctum of zombaceuticals, she meets an actual, living, breathing M-A-N. Now Hattie, the consummate professional, is acting like a single girl at the end of the twentieth century: self-conscious, klutzy and unable to form a coherent sentence without babbling. Worst of all, the human male appears to have impaired her ability to think clearly. Because all of a sudden she's convinced a conspiracy is afoot at the drug company and it seems to go all the way to the top!

This groundbreaking study explores the later lives and late-life writings of more than two dozen British women authors active during the long eighteenth century. Drawing on biographical materials, literary texts, and reception histories, Devoney Looser finds that far from fading into moribund old age, female literary greats such as Anna Letitia Barbauld, Frances Burney, Maria Edgeworth, Catharine Macaulay, Hester Lynch Piozzi, and Jane Porter toiled for decades after they achieved acclaim -- despite seemingly concerted attempts by literary gatekeepers to marginalize their later contributions. Though these remarkable women wrote and published well into old age, Looser sees in their late careers the necessity of choosing among several different paths. These included receding into the background as authors of "classics," adapting to grandmotherly standards of behavior, attempting to reshape masculinized conceptions of aged wisdom, or trying to create entirely new categories for older women writers. In assessing how these writers affected and were affected by the culture in which they lived, and in examining their varied reactions to the prospect of aging, Looser constructs careful portraits of each of her Subjects and explains why many turned toward retrospection in their later works. In illuminating the powerful and often poorly recognized legacy of the British women writers who spurred a marketplace revolution in their earlier years only to find unanticipated barriers to acceptance in later life, Looser opens up new scholarly territory in the burgeoning field of feminist age studies.

People magazine named Eloisa James’ novel Midnight Pleasures “Page Turner of the Week” and raved “Romance writing does not get much better than this.” Now the acclaimed author returns with another sumptuous tale of passion and misadventure in Regency England. . . . Gabrielle Jerningham cherishes the portrait of her betrothed, the perfect Peter Dewland . . . until she meets his commanding older brother Quill. But it is Peter to whom she has been promised. And how can she possibly transform her voluptuous, outspoken self into the poised gentlewoman Peter requires? When Gabby’s shocking décolletage plunges to her waist at her first ball, Peter is humiliated. But Quill comes to the rescue, to the peril of his heart. An accident years before has left Quill plagued by headaches—the kind that grows more excruciating with strenuous exercise. Needless to say, this hardly bodes well for siring progeny. But the very sight of Gabby leaves Quill breathless. One forbidden kiss and Quill vows to have her, headaches—and Peter—be damned! But it will take a clever man—and a cleverer woman--to turn the tables on propriety and find their way to true love. . . . BONUS: This edition contains an excerpt from Eloisa James's Paris in Love. Praise for Enchanting Pleasures “Another winner . . . delightful heroine, masterful hero, and an ingenious plot: intelligent, sexy fun.”—Kirkus Reviews “Charasmatic characters and a healthy dose of humor . . . once again, James weaves a story as rich in plot as in character.”—Publishers Weekly

Twenty-four-year-old Catherine Fellingham keeps a low profile-in society and in her family. A practical young woman, she leaves the spotlight to her beautiful younger sister and prefers quiet pursuits such as reading. But all that changes the moment she learns of her mother's very excellent scheme to keep the family out of debtors' prison. The scatter-brained Lady Fellingham has been selling commissions in the king's army, and Catherine must shake off her indifference in order to save her family from a potentially ruinous scandal. Lady Arabella, her mother's partner-in-crime, readily agrees to abandon the plan but only because she finds a more absorbing project: nabbing a husband for Catherine. Catherine pays no head to her ladyship's lavish claim that she'll have her engaged by the end of the season, but that's before she overhears Arabella instructing the handsome nonpareil, the Marquess of Deverill, to flirt outrageously with her and bring her into fashion. Mortified, Catherine resolves not to be taken in by the charming marquess's cruel game-and even implements a very excellent scheme of her own. This sensible young lady seems to have everything well in hand. Or is she about to learn that her heart is a great deal less practical than her head?

A woman in the British Horticultural Society! The very idea horrifies everyone, including ardent horticulturalist Lavinia Harlow, whose own name has been put forth for membership by the provoking Marquess of Huntly. He does it as a joke, of course, to get back at her for an imagined slight-well, to be fair, she had insulted his writing-and Vinnie, older sister to the infamous Harlow Hoyden, is far too sensible to rise to his ridiculous challenge. Determined to head off further scandal (her name has already been recorded in the betting book at Brooks's!), Vinnie dashes off a polite note refusing the honor-which she has every intention of sending. Really. Only she can't help but chafe at the way everyone keeps demanding that she decline at once, even the marquess. Oh, especially the marquess, whose perfection she finds intolerable. Who ever heard of a gentleman being so handsome and so intelligent and so well informed about foreign flora? Clearly, the man needs to be taken down a peg, and somehow, despite all twenty-four years of faultless propriety, Vinnie is just the hoyden to do it.