Download After the Kiss (Notorious Gentlemen, Book 1) by Suzanne Enoch PDF

By Suzanne Enoch

"**A infamous Gentleman . . .**

Sullivan Waring desires merely issues: his rightful inheritance, and revenge opposed to the guy who stole it from him. through day, Sullivan is the main revered horse breeder in England; through evening, he plunders the ""ton""'s most magnificent houses to reclaim his past due mother's appealing work. His quest goes swimmingly . . . till the evening he's chanced on by means of girl Isabel Chalsey. Clad simply in a revealing nightdress, she's an entrancingly assorted form of plunder, and the way can a thief withstand stealing a kiss?

**A Curious woman . . .**

Surprised through a masked guy in her own residence, Isabel may be quaking with worry. as an alternative the sight of the sinfully good-looking Sullivan makes her tremble with pleasure. who's this guy, and why is he so set in this reckless pursuit? girl Isabel loves a problem, and she'll dare whatever to discover Sullivan's secret--but she may perhaps as a substitute persuade him that she is the best prize of all.

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Additional resources for After the Kiss (Notorious Gentlemen, Book 1)

Sample text

Hardy was concerned enough to send sketches so that the illustrator would know how the novelist had visualized his own material, yet he was content to leave the matter of the finished illustrations in the hands of Tinsley's Magazine and Pasquier. The pressure of serial writing, the fact that he was not accustomed to the way things were done in the world of magazine publication, and that he did not at this time fully realize the potential impact of illustration may explain why Hardy took no further interest in these illustrations.

Again, this style of illustration has not been understood very well because it has been measured by the aims, methods, and results of the two earlier schools. And when representational illustration is measured by the Cruikshank school, its differences become exaggerated, its positive qualities obscured. Yet it is also true that much of the illustration for this era is undistinguished. Such a statement is not meant to be disparaging: much of the THE HISTORIC CONTEXT 23 fiction is also undistinguished.

Unused to literary deadlines, Hardy began to feel the pressures of magazine writing. An additional result of the pressures of installment writing, believes Carl 1. Weber, was that it "had led him into inartistic prolixity;" 4 he had padded his manuscript to fill the spatial demands of his editor. Later, Hardy realized what demands serial publication had made on his writing as he revised and cut this text for subsequent editions. In addition to his own problems in producing a manuscript, Hardy became aware that others also had their deadlines.

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