By Tasha Alexander
From talented new author Tasha Alexander comes a beautiful novel of old suspense set in Victorian England, meticulously researched and with a twisty plot that consists of stolen antiquities, betrayal, and murder
And purely to Deceive
For Emily, accepting the idea of Philip, the Viscount Ashton, was once an ideal way to flee her overbearing mom, who used to be set on a grand society fit. So while Emily's rushing husband died on safari quickly after their marriage ceremony, she felt little grief. in the end, she slightly knew him. Now, approximately years later, she discovers that Philip was once a miles varied guy from the only she had married so cavalierly. His journals show him to were a gentleman student and antiquities collector who, to her shock, used to be deeply in love together with his spouse. Emily turns into eager about this new photograph of her useless husband and he or she immerses herself in all issues historical and starts to review Greek.
Emily's highbrow objectives and her wish to examine extra approximately Philip take her to the quiet corridors of the British Museum, one in every of her husband's favourite areas. There, amid helpful historical statues, she uncovers a depressing, risky mystery concerning stolen artifacts from the Greco-Roman galleries. And to complicate issues, she's juggling very famous and filthy rich suitors, certainly one of whose intentions may match past the marrying variety. As she units out to resolve the crime, her seek results in extra surprises approximately Philip and reasons her to query the position in Victorian society to which she, as a girl, is relegated.
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Additional info for And Only to Deceive (Emily Ashton, Book 1)
This is again well within the eighteenth-century anti-enthusiastic tradition, where the Methodist impulse to preach extemporaneously was sometimes ascribed to the workings of an internal Satanic spirit. Dickens uses this effectively: the preacher suffers a transformation wrought by his own vengeful feeling - he becomes an agent of the realm whose torments he so fervently evokes. But the controlled imagery and implied metamorphosis are ultimately beside the point: the passage conspicuously Jails to identify the nucleus of support behind the sabbatarian agitation, which was very largely Anglican.
It is easy enough to find illustrations of Dickens's antievangelicalism; explaining its basis, however, is often harder. In his own account of the matter, Dickens began with his childhood. ' 5 4 That Dickens left the powerful preacher behind is undoubtedly true; that he had had extensive contact is less certain. Dickens was raised as a nominal Christian in exactly the sense intended by Wilberforce. ' 5 5 The same was certainly true for Dickens himself- a deficiency that apparently brought about the attempted remedy which he found so disagreeable.
P. Plumptre, and which brought forward such extravagant anti-Catholic ranters as the Revs Mortimer O'Sullivan (labelled by Dickens as 'Mr Somebody O'Something, a celebrated Catholic renegade and Protestant bigot'), Hugh M'Neile, Hugh Stowell, and R. J. M'Ghee. Composed largely of Anglican diehards who agitated to repeal the Catholic Emancipation Act of DICKENS AND EVANGELICALISM 25 I 829, this body was not only ultra-Protestant, but also ultraconservative, and joyfully numbered amongst its enemies (in addition to Catholics) political dissenters, socinians, infidels, socialists, Chartists, and their abettors (liberals).