The life, work and history of Aphra Behn: seventeenth -century dramatist, poet of the erotic and bisexual, novelist, political propagandist, spy.

Praise for the first hardback edition:

Fascinating scholarship. Todd conveys Behn's vivacious character and the mores of the time. --the New York Times

Ground-breaking--it reads quickly and lightly. Even Todd's throwaway lines are steeped in learning and observation. --Ruth Perry, MIT, Women's Review of Books

A major biography; of interest to everyone who cares about women as writers. --Times Higher Education Supplement

Fascinating, a page-turner and a delight, an astonishingly thorough book. --Emma Donoghue

All women together ought to let flowers fall on the tomb of Aphra Behn. . . . For it was she who earned them the right to speak their minds. --Virginia Woolf

Aphra Behn, a spy in the Netherlands and the Americas, was the first professional woman writer. The most prolific dramatist of her age, innovative novelist, translator, lyrical and erotic poet, she expresses a frank sexuality addressing impotence, orgasm and bisexuality, whilst serving as political propagandist for the monarch.

This revised biography of the extraordinary, ground-breaking writer, who is emblematic of the Restoration period, a time of masks and self-fashioning, is set in conflict-ridden England, Europe, and in the mismanaged slave colonies, following the Puritan republic in 1660.

Janet Todd, novelist and internationally renowned scholar, was President of Lucy Cavendish College, Cambridge, and a Professor at Rutgers, NJ. An expert on women's writing and feminism, she has published on many writers, including Jane Austen, the Shelley Circle, Mary Wollstonecraft, and Aphra Behn.

John Wright's mind is playing tricks on him. He sees people he thinks he knows, but they are only strangers. His memory flickers in and out of focus. He has not seen his fianc e, Iris, in over three years. He fled their Los Angeles apartment one night after a fit of rage that may or may not have left her dead. He has been living off a small fortune he stole from Iris's rich, manipulative businessman father. He bides his time and waits for the police to find him and charge him with his lover's murder. Has he killed her? Is she really dead?
Talented, clever, sophisticated Iris was his anchor, the one joy in his troubled, lonely life. At Harvard, she transformed John from a shy and awkward undergraduate into an elegant, self-assured man. But now she's gone, and his memories of her are obscured by a miasma of guilt and uncertainty.
One bright day Iris returns. Is she real, or just a cruel figment of his addled brain? Only a journey into the deepest corners of his past will reveal the truth about John and Iris--about life and death and love, and secrets too dark to reveal.

I have been dragged through time, summoned like a book requisitioned from a distant library, says Virginia Woolf, resurrected by modern-day author, Angela Lamb, working on Woolf manuscripts in the New York Public Library's Berg collection.
Angela dumps her irrepressible daughter at boarding-school to pursue her writing, so, when a bedraggled Virginia materialises among the bookshelves and is promptly evicted, Angela rushes to her rescue, chaperoning her wayward heroine.
Virginia drinks in the Algonquin, finds friends' paintings in the Met, and scams bookstores by selling pristine first editions of her novels, inscribed. Visits to independent booksellers make up for her disappointment in finding iconic bookstores closed.
Virginia flies with Angela to a conference in Istanbul, makes friends, finds new lovers, and steals the show at international meeting on - Virginia Woolf.
The novel asks what Virginia would make of contemporary literature, the book trade, love, sex and digital addictions? Are we free-er than in Woolf's day? By showing Woolf's joy in seizing life, Gee challenges the clich that great female artists are self-destructive, and engagingly shows Woolf's ideas on equality, feminism and bisexuality are as vibrant and important as ever.
A witty, profound novel about the miraculous possibilities of second chances.

After a life of reading and writing, what does it feel like to be deprived of both, to be thrown back only on what's in your head? The literary snippets that emerge into Todd's consciousness during a month of radiation are sometimes apt, often ludicrous. They draw her back into childhood in Wales, Bermuda, Ceylon when literature functioned as friend and escape, to her unquiet past in sixties Ghana, then America at the dawn of the rights movements.
Her father, nearing 100, is caught in the same 'hospital-land' both learn the selfishness of sickness and both respond by telling stories.

Who attacked Dad? When a corrupt, brutal dentist, Albert Ludd, is found battered and bloody after failing to attend a memorial party for his youngest son, suspicion falls on the dentist's other children. Especially on Dad's middle daughter, 37-year-old buxom bruiser Monica Ludd, who was heard 'uttering threats' against her absent father. How come her car is found outside Dad's house? Why did she buy a large axe? And yet, Monica's a deputy head teacher... Blood is a Gothic black comedy seen through the eyes of six-foot Monica, who cannot help speaking her secret thoughts aloud and who has been banned by the principal of her school, from using social media. 'Parents are sensitive to abuse. Neil, I would never abuse our parents. Governors queried 'moron' and 'twat'. ' Set in an angry, anarchic, Brexit-ing Britain where terrorism has become routine, Blood also asks serious questions about modern life: what can we do with the brutal men who bully women and the weak? Can we wait for a world of order and justice? If we hit back, can the circle of violence ever be broken? Kirkus Reviews (05/01/2019): What should Monica Ludd, the fearless sister to five other Ludd siblings, do when she finds their horrible father beaten to a pulp? And what does the dysfunctional Ludd family's predicament tell us about Brexit Britain? The Ludds. Artistes of awfulness is how noted British novelist Gee (Virginia Woolf in Manhattan, 2014, etc.) introduces the bizarre family around which she builds her tragicomedy of revenge. Monica, 38, 6-foot-1, an amazon, strong, deep-chested, solid haunches, narrates the book, haunted by the fearsome childhood she endured. Her twin brothers, Boris and Angus, two jut-jawed Herculeses, their wand-thin model sister, Fairy, and another sister, glamazon Anthea, lived in dread of their cruel father, Albert, whose pitilessness forced the last child, Fred, into the army; he was killed in Afghanistan. But for all her power, Monica is not quite as tough as she seems. Discovering Albert's bloody, smashed-up body after a party to celebrate Fred's life, she flees, beginning a chain of farcical events that exposes both her resourcefulness and her vulnerability. The Ludds live in Thanet, a spit of land in southern England, the end and beginning of Britain, and Gee's nonstop procession of grotesques, slapstick, and sideswipes at Brexit and domestic terrorism attempts to point up connections between violence in personal relationships and other, larger scenarios. Lurid and breathless, driven by galumphing characters and some belly laughs, this furious tale of brutal times and remedies doesn't quite make that link, but the wild ride, underpinned by its author's sharp perceptions, entertains quite a bit. A horror movie-esque last act sees the family coming together to defeat oppression and Monica transformed at last from lone warrior to larger-than-life local hero. Even if the novel can seem unsettled, she's irresistible. A vibrant parable of abuse and survival, stronger on the family front than the national one. COPYRIGHT(2019) Kirkus Reviews, ALL RIGHTS RESERVED. Commanding Wall Street Journal (07/16/2019) Publishers Weekly (05/20/2019): The family of teacher Monica Ludd, the 37-year-old narrator of this amusing, psychologically attuned crime novel from British author Gee (The White Family), is headed by her father, Albert, a dentist in Thanet, Kent, who sexually abuses his patients and cheats the government. Albert has raised six children, torturing them verbally and physically. Monica is preparing to throw a party honoring her younger brother, Fred, who was killed in Afghanistan. She plans a speech blaming Albert for Fred's death, because Albert bullied him into becoming a soldier. Her plans, however, go awry: Albert fails to come to the party, and Monica threatens in front of witnesses to kill him. The next morning, Monica goes to his house, armed with an ax, only to find her father already dead, slaughtered in his bed. Gee poses the question: is Monica culpable because she wanted to commit the crime but failed to execute it, or did she actually do it? The reader goes back and forth, not knowing what to believe. One doesn't have to be a mystery fan to appreciate this beautifully crafted and provocative tale. (July) Copyright 2019 Publishers Weekly, LLC Used with permission. Shelf Awareness (07/09/2019): Maggie Gee's Blood could be called an unorthodox thriller, a black comedy or representative of any number of other genres. For many American readers, it will be an introduction to the acclaimed author of 15 books published in the U.K. The genre may be difficult to place, but it's easy to see Gee's strengths, particularly in her characters. The novel is told primarily from the perspective of Monica Ludd, a gigantic, buxom woman from a family haunted by the abuse and cruelty meted out by their physically imposing father on his wife and children. When the father is attacked, Monica becomes the chief suspect. Blood's plot is not particularly twisty--despite the novel's short length, there are passages where Monica meditates on her twisted childhood and a country thrown into turmoil by Brexit and terrorist attacks. What carries the book is Monica's perspective: equal parts rude, funny, fearful, literate and randy. Monica is an unusual but effective vehicle for a conversation about the legacy of abuse and violence. The contradictory aspects of her character echo the difficulty of the topic. At one point, Monica reminds the reader that her father always adored her mother in the midst of relating the ways he tormented her: Yes, I know, it's complicated; life's complicated, get over it. Instead of twists and turns, Gee immerses the reader in dread. Her father's fate uncertain, Monica fears that he will return and continue his reign of terror. Blood asks whether a monster can be stopped without further monstrous violence. COPYRIGHT(2019) Shelf Awareness, ALL RIGHTS RESERVED. Gee has cr

Coming to PBS Masterpiece Classic soon Gorgeous, profound, delightful, useful, original, this fully illustrated, informative volume combines Jane Austen's Sanditon novel and Janet Todd's ground-breaking essay.

I so enjoyed Janet Todd's beautifully produced book. Andrew Davies, screenwriter.

Sanditon is Jane Austen's last novel, left unfinished when she died. A comedy, it continues the strain of burlesque and caricature she wrote as a teenager and in private throughout her life. This beautifully illustrated volume combines the full novel and Todd's ground-breaking essay, where she contextualizes Austen's life and work, Sanditon's connection with Northanger Abbey (1818) and the Austen family's speculation in England and the West Indies. She examines the moral and social problems of capitalism, entrepreneurship, and whether wealth trickles down to benefit the place it is made. In explaining the early nineteenth-century culture of self: the exploitation of hypochondria, health fads, seaside resorts, cures, she contends that Sanditon is an innovative, ebullient study of human beings' vagaries - rather than using common sense, Sanditon's characters follow intuition and bodily signs believing that desire can be translated into physical facts and speech can transform fantasy into reality. Todd shows Austen's themes to be akin to contemporary concerns: the mistakes of the self-deluded reveal the inevitable, ridiculous gap between how we think of ourselves and how we appear and sound to others.

The Second World War is over. England is losing its empire, world status and old elite values. The Empire strikes back with mass immigration, while the government soothes its people with welfare, the NHS, televisions and refrigerators. At the centre of the novel is the contemptuous Joan Kite, at odds with all the changes imposed on the country in the post war period. Shut up in a house with her only daughter, she refuses to compromise and adapt, pouring vitriol on anyone who seeks to enter their lives. After years of frugality, patriotism, service and excitement, she is angry at the contracted existence she's been delivered and at the manner in which her aspirations to upper-middle-class culture have been thwarted. When her daughter is threatened, she begins a diary to investigate her past before and during the war. In it she gives rein to a flamboyant imaginary life and to an energetic loathing for the reality of a diminished England. During the freak hot summer of 1976, as water is rationed and ladybirds invade their home, the intimacy of mother and daughter intensifies. Their lives unravel within the claustrophobia of their semi-detached house behind closed velvet curtains.

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Eccentric Fran wants a second chance. Thanks to her intimacy with Jane Austen, and the poet Shelley, she finds one.

Jane Austen is such a presence in Fran's life that she seems to share her cottage and garden, becoming an imaginary friend.

Fran's conversations with Jane Austen guide and chide her - but Fran is ready for change after years of teaching, reading and gardening. An encounter with a long-standing English friend, and an American writer, leads to new possibilities. Adrift, the three women bond through a love of books and a quest for the idealist poet Shelley at two pivotal moments of his life: in Wales and Venice. His otherworldly longing and yearning for utopian communities lead the women to interrogate their own past as well as motherhood, feminism, the resurgence of childhood memory in old age, the tensions and attractions between generations. Despite the appeal of solitude, the women open themselves social to ways of living - outside partnership and family. Jane Austen, as always, has plenty of comments to offer.

The novel is a (light) meditation on age, mortality, friendship, hope, and the excitement of change.