By William Boyd
"Rich in personality and incident, An Ice-Cream War fulfills the ambition of the historic novel at its best."
—The manhattan occasions booklet Review
Booker Prize Finalist
"Boyd has greater than fulfilled the intense promise of [his] first novel. . . . he's able not just of a few very humorous satire but in addition of seriousness and compassion." —Michiko Kakutani, The long island Times
1914. In a resort room in German East Africa, American farmer Walter Smith desires of Theodore Roosevelt. As he sleeps, a railway passenger swats at flies, regretting her determination to come back to the darkish Continent—and to her husband. On a far flung English riverbank, a jealous Felix Cobb watches his brother swim, and curses his sister-in-law-to-be. And within the historical past of the world's day-by-day chatter: rumors of an Anglo-German clash, the likes of which nobody has ever seen.
In An Ice-Cream War, William Boyd brilliantly inspires the personal dramas of a new release upswept by means of the winds of warfare. After his German neighbor burns his crops—with an apology and a smile—Walter Smith takes up hands on behalf of significant Britain. And whilst Felix's brother marches off to shield British East Africa, he pursues, opposed to his greater judgment, a forbidden love affair. because the sons of the area fit wits and guns on a continent millions of miles from domestic, desperation makes bedfellows of enemies and traitors of family and friends. through turns comedian and quietly clever, An Ice-Cream War deftly renders lives capsized via violence, probability, and the irrepressible human capability for love.
"Funny, guaranteed, and cleanly, expansively instructed, a seriocomic romp. Boyd supplies us experiences of individuals stuck within the aspect wallet of calamity and dramatizes their plights with humor, aspect and grit." —Harper's
"Boyd has crafted a quiet, seamless prose during which tale and characters movement without problems out of a fertile mind's eye. . . . The reader emerges deeply moved." —Newsday
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I focus on the act of eating and on body size in two of the nineteenth-centuries greatest vampire tales, Bram Stoker’s Dracula and Sheridan Le Fanu’s “Carmilla,” and in George Du Maurier’s Trilby, with its vampiric villain, Svengali. Chapter examines Rossetti’s poetry, devotional prose, and children’s story Speaking Likenesses. I end with Rossetti because her work moves the Introduction analysis of representations of hunger in Victorian literature from the secular to the sacred sphere. Rossetti’s work has already been termed anorexic by some scholars, which, while at ﬁrst glance convincing, ignores her deeply held theological beliefs.
Desire to wear precisely the same kind of dress. Sarah Stickney Ellis, Daughters of England The remarkable similarity between Orbach’s and Ellis’s observations indicates that the wish to adapt to one predominant standard of beauty bridges nineteenth- and twentieth-century women’s experiences, and that contemporary complaints about the tyranny of slenderness have antecedents in the Victorian era. Nineteenth-century writers were well aware of the importance of beauty, including slenderness, in women’s lives, so discussions of the existence of a Victorian “beauty myth” do not merely impose a twenty-ﬁrst-century concept upon the nineteenth century.
However, these ideas were commonplace enough, and conform closely enough to anorexia nervosa as an illness, that Victorian Britain represents a developing, if still inchoate, anorexic culture. If anorexia was ﬁrst diagnosed in , in other words, and if culture is productive of eating disorders, then there must have been aspects of Victorian ideology, speciﬁcally gender ideology, that made the development of the disease possible. It is these aspects of Victorian culture that this book will explore.