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Historical Romance

A Lasting Impression (Belmont Mansion, Book 1) by Tamera Alexander

By Tamera Alexander

After an undesirable prior, Claire strives to create anything that might final as an artist between Nashville's elite society within the 1860s.

Claire Laurent's maximum aspiration is to color whatever that might deliver her acclaim. but her father insists she paintings as a copyist. A forger. while she's compelled to escape her domestic, her course collides with lawyer Sutton Monroe, who indicates her kindness via no longer turning her in to specialists. but if he later refuses to return to her reduction, Claire fears she's sorely misjudged him. discovering herself one of the elite of Nashville society, Claire believes her dream of making an enduring influence on the planet of paintings is inside reach--but provided that her prior is still hidden.

The Federal military destroyed Sutton's domestic, confiscated his land, and threatens to break his family's honor. His decision to reclaim what belongs to him unearths a fact which can fee him greater than he ever imagined--as good because the girl he loves.

Set at Nashville's historical Belmont Mansion, a gorgeous antebellum manor equipped by way of Adelicia Acklen, a long-lasting influence is a sweeping love tale a couple of state mending after struggle, the redemption of these wounded, and the braveness of a guy and girl to work out themselves--and every one other--for who they are surely

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Extra info for A Lasting Impression (Belmont Mansion, Book 1)

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That this form of historical romance was still viable for some greatly gifted writers long after "the Heyday of Sir Walter Scott" is proven by Stevenson's Kidnapped and Conrad's The Duelists. But the limitations of the classic form of historical romance were apparent even during Scott's own lifetime. Although not unmoved by the heroic clarions of epic literature, Hawthorne and Melville saw that the historical romance as written by Scott and Cooper would not meet their own needs unless its center of action and moral interest could be relocated inwards.

32 But detecting and A prospectus 27 decontextualizing them is rather beside the point I seek to make in this book. For notwithstanding their authors' ambition to recover the primitive strength and truth of earlier forms of literature, historical romances are essentially a product of modern times: of the mixed feelings of pride and guilt experienced by the beneficiaries of bourgeois revolutions and European colonial conquests; of the English novel of manners and morals as developed by Fielding, Smollett, and Edgeworth; of Enlightenment social-historical theory; and, not least, of the literary theory and practice of the Romantic Revival.

For Scott and most of his younger contemporaries, the historical romance was, above all, a modern version of the epic, hence a heroic and masculine genre preoccupied with the fate of entire societies and but little concerned with individualistic introspection or, reversing the mirror, cosmic questionings. That this form of historical romance was still viable for some greatly gifted writers long after "the Heyday of Sir Walter Scott" is proven by Stevenson's Kidnapped and Conrad's The Duelists. But the limitations of the classic form of historical romance were apparent even during Scott's own lifetime.

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