Download e-book for kindle: William The Good (Just William, Book 9) by Richmal Crompton

By Richmal Crompton

'I din' take it,' William acknowledged. 'Ethel took it. She - she type of can't aid herself. I always,' he additional virtuously, 'try'n placed again the issues she's took.' it began with a unprecedented occasion: William Brown learn a publication. And now he feels encouraged to save lots of his sister from a lifetime of crime. the line to catastrophe is paved with William's sturdy intentions. Ethel's behaviour has been quite abnormal - extra so than is common in a woman. yet William, the Brown family's ethical parent, is decided to 'reform' her - regardless of the outcomes . . .

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Extra info for William The Good (Just William, Book 9)

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Characters like Cathy exist at the heart of romance and Gothic novels. In these genres, the young woman whose life forms the narrative must undergo a ritual testing of her resilience and strength before she is rewarded with her freedom from the forces that oppress her throughout the novel. A common feature of the test is the confrontation with the other woman, who seeks to deprive the heroine of comfort and fulfillment, beauty, and even life. In the role of other woman is Corrine: glamorous, irresponsible, overtly sexual, and experienced in the ways of the world.

C. Andrews HISTORY OF THE GENRE Literary historians generally agree that the first true Gothic novel was Horace Walpole’s The Castle of Otranto (1764), which chronicles the persecution of the heroine, Isabella, by Prince Manfred and his son Conrad before the two men are finally killed and Isabella is united with Theodore, her true love. Because Walpole set his story in a mouldering medieval castle—encrusted with flying buttresses, crowned with towers, full of dark stairways and underground crypts and hidden doors—the genre that he popularized came to be described as Gothic in homage to the architectural style of the castle.

The pink and white innocence of Gladstone has been replaced with the infernal red and gold of Foxworth. This hell is to be the children’s prison: the door to the rest of the house is locked, and although the connecting hallway to the attic is open, there appears to be no passage from there to the outside world. A reality unconnected with anything beyond its walls, the attic of the title is tomblike, enormous, dirty, and poorly lit by a few deep dormer windows. Abandoned sheet-draped relics—the sad remains of several lifetimes, furniture, clothing, household items—are covered with dust and permeated with the odor of decay, prompting Cathy to see ‘‘these things as weird, eerie .

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