Innocent


Book Description

Innocent (1914) is a novel by Marie Corelli. Published at the height of Corelli’s career as one of the most successful writers of her generation, the novel combines fantasy and romance to tell a story of self-discovery, ambition, and the ideals of the early feminist movement. Due for reassessment by a modern audience, Innocent is a must read for fans of Victorian literature. Abandoned as a baby, Innocent is raised by Hugo Jocelyn on the ancestral farm of Sieur Amadis, a legendary French knight. Growing up in this idyllic setting, Innocent develops a love for medieval literature while constructing elaborate fantasies about her mysterious origins. When Jocelyn dies, he reveals the identity of her parents: Lady Blythe, a noblewoman; and Pierce Armitage, an artist. Forced to face reality for the first time in her life, Innocent makes her way to London, where she begins a promising career as a professional writer. Despite her early success, Innocent encounters a friend of her parents who, unbeknownst to her, reveals her whereabouts and sets the stage for their reconciliation. While Armitage, now in Italy, prepares to rekindle their relationship, Innocent falls for a vain, manipulative young man who promises her marriage while harboring his own secret motives. Innocent is a tale of a young woman true to her name, a talented and promising young artist who must learn fast in order to avoid disaster. With a beautifully designed cover and professionally typeset manuscript, this edition of Marie Corelli’s Innocent is a classic work of English literature reimagined for modern readers.




Innocent, Her Fancy and His Fact; A novel


Book Description

Reproduction of the original.




The Life Everlasting: A Reality of Romance


Book Description

Reproduction of the original: The Life Everlasting: A Reality of Romance by Marie Corelli




A Romance of Two Worlds


Book Description










The Publishers Weekly


Book Description




The Soul of Lilith


Book Description

"A novel in which a mystic named El Rami, a practitioner of the arts of healing drawn from the occult science of the ancient Egyptians, attempts to control and dominate the soul of a dead girl. El Rami travels from London to Syria where he meets a caravan in the desert with two ailing women in need of care and attention. He agrees to help, and he restores one, an old women, to health. The other, a young orphan girl called Lilith, succumbs to her illness and dies. El Rami practices his mysterious arts on Lilith in an attempt to demonstrate the existence of life after death. He administers an elixir that brings her body back to life, and returns to London with the breathing corpse of Lilith. He hides her in a room in his mansion for six years, and summoning all his powers succeeds in being able to summon her soul back to her body at will. The head of the Brotherhood of the Holy Cross of which El Rami was a member, Heliobas, arrives. Readers know him from The Romance of Two Worlds and Ardath. Heliobas is alarmed by El Rami's experiments, and tells him that he must release the girl and allow her to die. But El Rami is obsessed with the beautiful Lilith, and intends on making her his soulmate. Despite Lilith's pleas and warnings, as El Rami kisses her she crumbles to ashes in from of him. When El Rami recovers himself, he is taken to the Brotherhood's monastery in Cyprus, a mental wreck."--Synopsis from MarieCorelli.org.uk




Marie Corelli: Modernism, Morality, and Metaphysics


Book Description

This collection reappraises and retheorizes Marie Corelli’s diverse fictional writings and locates them in their contemporary literary and social context. Marie Corelli (1855-1924) was a fabulously popular novelist in the late-nineteenth and early-twentieth centuries. Yet, in her day, critics railed against her taste for sentimentality, melodrama, supernatural worlds, and overt didacticism. Many critics are still ambivalent about her writing. However, in their reappraisal, the contributors to this volume largely circumvent the earlier critics and engage afresh with Corelli’s writing strategies; genre choices; representations of social issues; and ideas about science, metaphysics, and morality. Moving beyond the now outdated project of "recovery", the volume also discusses Corelli’s literary market place, analysing both her publishing successes and her decline in popularity. An important theme throughout is Corelli’s troubled relationship with an emerging literary Modernism and an ever-widening gulf between high and popular culture. The contributors interrogate the critical templates, assumptions, and biases of a literary establishment (past and present) centred on Modernist tropes and structures. As a result, the Corelli they unearth is not a defective Modernist but an innovative and original writer who eschewed the dictates of a movement with which she had no empathy. This book was originally published as a special issue of Women’s Writing.




Modernism and the Women’s Popular Romance in Britain, 1885–1925


Book Description

Today’s mass-market romances have their precursors in late Victorian popular novels written by and for women. In Modernism and the Women’s Popular Romance Martin Hipsky scrutinizes some of the best-selling British fiction from the period 1885 to 1925, the era when romances, especially those by British women, were sold and read more widely than ever before or since. Recent scholarship has explored the desires and anxieties addressed by both “low modern” and “high modernist” British culture in the decades straddling the turn of the twentieth century. In keeping with these new studies, Hipsky offers a nuanced portrait of an important phenomenon in the history of modern fiction. He puts popular romances by Mrs. Humphry Ward, Marie Corelli, the Baroness Orczy, Florence Barclay, Rebecca West, Elinor Glyn, Victoria Cross, Ethel Dell, and E. M. Hull into direct relationship with the fiction of Virginia Woolf, Katherine Mansfield, James Joyce, and D. H. Lawrence, among other modernist greats.