The Main Heroines Are Trying To Kill Me Chapter 1
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Kill Me Softly
Mirabelle's past is shrouded in secrecy, from her parents' tragic deaths to her guardians' half-truths about why she can't return to her birthplace, Beau Rivage. Desperate to see the town, Mira runs away—and discovers a world she never could have imagined. In Beau Rivage, nothing is what it seems—the strangely pale girl with a morbid interest in apples, the obnoxious playboy who's a beast to everyone he meets, and the chivalrous guy who has a thing for damsels in distress. Here, fairy tales come to life, curses are awakened, and ancient stories are played out again and again. But fairy tales aren't pretty things, and they don't always end in happily ever after. Mira has a role to play, a fairy tale destiny to embrace or resist. As she struggles to take control of her fate, Mira is drawn into the lives of two brothers with fairy tale curses of their own...brothers who share a dark secret. And she'll find that love, just like fairy tales, can have sharp edges and hidden thorns.
Fake Saint of the Year: You Wanted the Perfect Saint? Too Bad! Volume 1
After yet another late night of playing his favorite dating sim, Fudou Niito—a self-proclaimed lazy NEET—suddenly wakes up to find himself inside the game! Stranger still, he hasn’t been reincarnated as the main character, Verner, or as his beloved waifu, Eterna... Instead, he’s Ellize, the absolutely awful fake saint who stole Eterna’s rightful place and made her life a living hell! And so, Niito now has one goal: change the story to ensure the game’s tragic heroine finally gets the happy ending she deserves! To do that, he’ll have to play matchmaker for Verner and Eterna while also boosting the saint’s popularity! Can this imposter scheme his way into a happy future for his favorite character?
Reading the Romance
Author: Janice A. Radway
language: en
Publisher: Univ of North Carolina Press
Release Date: 2009-11-18
Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing’s most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader’s dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention “must shift from the text itself, taken in isolation, to the complex social event of reading.” She examines that event, from the complicated business of publishing and distribution to the individual reader’s engagement with the text. Radway’s provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. “We read books so we won’t cry” is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway’s group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study’s limitations.