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Maggie
'She was small, she was slight, with limber hands and fingers and white and consonant teeth; hazel was the colour of her eyes, and she wore size three shoes on her high-arched feet. There was more, though, more than pigmentation, more than fineness of form and feature: she was the repository of winning ways, as if all the graces had devolved on her...' Thus did John Sanford write of Marguerite Roberts, the 'Maggie' of this lyrical and moving memoir. His wife for more than half a century, she was a screen-writer of much distinction and one of the highest-paid in Hollywood. With uncommon generosity and with an unflagging belief in Sanford's ability, she supported him through the writing of his twenty books, all of them acclaimed by the critics but overlooked by the public. He has been called 'the undiscovered treasure of American literature'.
Tess in the Theatre
This book presents the half-century's history of Tess of the D'Urbervilles on the stage together with the texts of significant dramatic versions.
We Have a Little Sister
Maggie, subject of this memoir, is the late wife of Sanford. The youngest of six children, she was born in a small town in central Nebraska in the year 1905. Her father, part Cree Indian, was a mason by trade and a county marshal. He and his numerous family and friends furnished the recollections of time, place and event that enabled Sanford to capture episodes of Maggie's early life on the Great Plains before she moved to Hollywood to become an award-winning screenwriter. This portrayal of a life and values gone by makes this a book of valuable Americana that otherwise would have been lost.
Domestic Murder in Nineteenth-Century England
Why did certain domestic murders fire the Victorian imagination? In her analysis of literary and cultural representations of this phenomenon across genres, Bridget Walsh traces how the perception of the domestic murderer changed across the nineteenth century and suggests ways in which the public appetite for such crimes was representative of wider social concerns. She argues that the portrayal of domestic murder did not signal a consensus of opinion regarding the domestic space, but rather reflected significant discontent with the cultural and social codes of behaviour circulating in society, particularly around issues of gender and class. Examining novels, trial transcripts, medico-legal do...
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Don't Fear, My Darling
It's been five months since twenty-two-year-old Louisa Berry's cherished grandfather died, and although she's determined to live a life that honors his memory, she's dropped out of college twice, and her refusal to play the corporate game has cost her three jobs. She thinks her new position-a live-in secretary to an elderly author, Marguerite Roberts-is perfect.But the moment she arrives at the Roberts' house, Louisa senses an undercurrent of menace. The wheelchair-bound Marguerite is confined to her room, and the family members can barely disguise their hostility toward one another. A series of threatening events soon makes Louisa question whether her growing affection for Marguerite is enough to keep her in a house in which she can trust no one-not even Marguerite's grandson, with whom she is falling in love. As the danger escalates, Louisa is trapped. She can't leave Marguerite alone and unprotected. But she may be risking her own life if she stays.
