Nineteen-year-old Annabelle Worthington was born into a life of privilege, raised amid the glamour of New York society, with glorious homes on Fifth Avenue and in Newport, Rhode Island. But everything changed on a cold April day in 1912, when the sinking of the Titanic shattered her family and her privileged world forever. Finding strength within her grief, Annabelle pours herself into volunteer work, nursing the poor, igniting a passion for medicine that would shape the course of her life. But for Annabelle, first love, and a seemingly idyllic marriage, will soon bring grief - this time caused by the secrets of the human heart. Betrayed and pursued by a scandal she does not deserve, Annabelle flees New York for war-ravaged France, hoping to lose herself in a life of service. There, in the heart of the First World War, in a groundbreaking field hospital run by women, Annabelle finds her true calling, working as an ambulance medic on the front lines, studying medicine, saving lives. And when the war ends, Annabelle begins a new life in Paris - now a doctor, a mother, her past almost forgotten. . . Until a fateful meeting opens her heart to the world she had left behind. Finding strength in the most unlikely of friendships, pulling together the broken fragments of her life, Annabelle will return to New York one more time - this time as a changed woman, a woman of substance, infused with life's experience, building a future filled with hope ... out of the rich soil of the past. -- Publisher description.

Finalist for the 1988 Pulitzer Prize for Poetry A landmark collection by National Book Award-winning poet Lucille Clifton, Good Woman: Poems and a Memoir 1969-1980 includes the four poetry collections that launched Clifton’s career—Good Times, Good News About the Earth, An Ordinary Woman, and Two-Headed Woman—as well as her haunting prose memoir, Generations. In honor of the 30th anniversary of Lucille Clifton's Pulitzer Prize-nominated poetry collection and memoir, Good Woman is now available for the first time as a deluxe eBook edition. Enhanced with previously unpublished photographs from the Lucille Clifton Estate and a special foreword by Aracelis Girmay, this eBook is a must-have for longtime Clifton fans and newcomers alike.

This book is about lives lived out on the borderlands, lives for which the central interpretative devices of the culture don't quite work. It has a childhood at its centre - my childhood, a personal past - and it is about the disruption of that fifties childhood by the one my mother had lived out before me, and the stories she told about it.' Intricate and inspiring, this unusual book uses autobiographical elements to depict a mother and her daughter and two working-class childhoods (Burnley in the 1920s, South London in the 1950s) and to find a place for their stories in history and politics, in psychoanalysis and feminism. 'Provocative and quite dazzling in its ambitions. . . Beautifully written, intellectually compelling'.' Judith Walkowitz 'Carolyn Steedman's 1950s South London childhood was shaped by her mother's longing: "What she actually wanted were real things, real entities, things she materially lacked, things that a culture and a social system withheld from her... When the world didn't deliver the goods, she held the world to blame." When Carolyn Steedman grows up and begins to look for reflections of her and her mother's lives in history, theory, and literature, she finds that "the tradition of cultural criticism that has employed working-class lives, and their rare expression in literature, has made solid and concrete the absence of psychological individuality - of subjectivity." Through an in-depth comparison of personal experience and prevailing political and social science theory on the psychology and attitudes of working-class people, Landscape for a Good Woman challenges an intellectual tradition that denies "its subjects a particular story, a personal history, except when that story illustrates a general thesis." In this poignantly written and thoroughly researched work, the common theoretical conclusion that the survival struggles of working-class people precludes the time necessary for more genteel "elaboration of relationships" is shot full of delightfully life-affirming holes.' - --From 500 Great Books by Women; review by Jesse Larsen.

The first full-scale biography of the South Carolina writer and winner of the Pulitzer Prize follows her pioneering work as a chronicler of the collapse of Southern plantation life and its effect on African Americans. UP.

It's Good to Be a Woman tells the stories of a group of women who came out of Bryn Mawr College determined to have lives of their own, to find meaningful work, to make a difference. Follow these stubborn, can-do optimists as they navigate the turbulence of the sixties and early seventies, confront crisis (divorce, sickness, getting fired), and build lives and careers, charting new territory for women in the professions.

'One of the wisest and most versatile of our novelists' CHRISTOPHER WORDSWORTH, GUARDIAN 'So intelligent and clear-eyed that every page seems to peel another layer of pretence' ISABEL QUIGLEY, FINANCIAL TIMES 'Nina Bawden's novels are self-perpetuating pleasures' KIRKUS REVIEWS 'Today, Tuesday, the day that Penelope has chosen to leave her husband, is the first really warm day of spring . . . ' Penelope has always done her best to be a good wife, a good mistress, a good mother - and a good magistrate. Today she is more conscious that usual of the thinness of the thread that distinguishes good from bad, the law-abiding from the criminal. Sitting in court, hearing a short, sad case of indecent exposure and a long, confused theft, she finds herself examining her own sex life - what would that sound like in court? - and her own actions and intentions. How would the court judge what she's about to do this afternoon . . . ?

In eight stories, a master of the form extends and magnifies her great themes—the vagaries of love, the passion that leads down unexpected paths, the chaos hovering just under the surface of things, and the strange, often comical desires of the human heart. Time stretches out in some of the stories: a man and a woman look back forty years to the summer they met—the summer, as it turns out, that the true nature of their lives was revealed. In others time is telescoped: a young girl finds in the course of an evening that the mother she adores, and whose fluttery sexuality she hopes to emulate, will not sustain her—she must count on herself. Some choices are made—in a will, in a decision to leave home—with irrevocable and surprising consequences. At other times disaster is courted or barely skirted: when a mother has a startling dream about her baby; when a woman, driving her grandchildren to visit the lakeside haunts of her youth, starts a game that could have dangerous consequences. The rich layering that gives Alice Munro's work so strong a sense of life is particularly apparent in the title story, in which the death of a local optometrist brings an entire town into focus—from the preadolescent boys who find his body, to the man who probably killed him, to the woman who must decide what to do about what she might know. Large, moving, profound, these are stories that extend the limits of fiction.