By Fern Michaels
Manhattan occasions Bestseller
Whoever stated residing good is the easiest revenge by no means met the Sisterhood. . .
Together, the seven fearless neighbors referred to as The Sisterhood have served candy justice to villains who proposal they have been above the legislation. yet payback has its cost, and the Sisterhood's final project virtually landed them in detention center. Now the ladies are fugitives with a bounty on their heads, yet they're no longer making plans on hiding out for long—not whilst reliable buddies want the type of support in simple terms they could give.
Mitch Riley, the ruthless assistant director of the FBI, intends to border Cornelia "Nellie" Easter, the pass judgement on who helped the Sisterhood avoid legal, and their legal professional, Lizzie Fox, which will shop his personal occupation. He's created a distinct activity strength to seek the Sisters down. Mitch has the total FBI at the back of him, yet he's approximately to find that he's no fit for seven ambitious ladies with an unbreakable bond and a wickedly crafty plan to deliver the struggle correct to his door. . .
Praise for Fern Michaels and her Sisterhood novels. . .
"Revenge is a dish most sensible served with textile napkins and floral centerpieces. . .fast-paced. . .puts poetic justice first."—Publishers Weekly on Payback
"An unforgettable story."—Rendezvous on Weekend Warriors
Read Online or Download Hide and Seek (Sisterhood, Book 8; Rules of the Game, Book 1) PDF
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Extra resources for Hide and Seek (Sisterhood, Book 8; Rules of the Game, Book 1)
Bloom, The Anxiety of Influence, p. 30. 15. Although Aurora Floyd (1863) seems on the surface very different from the ‘bigamy novel’ that preceded it (Aurora is not a plotting femme fatale but only a spoiled girl, and there is no reference to madness in the story), even in this case Lady Audley’s Secret can be adopted as a filter for Braddon’s opinions, for instance, on Victorian marriage. In Natalie Schroeder and Ronald A. Schroeder’s view, ‘Aurora’s extraordinary measure of deserting her husband reverses the conventional pattern of spousal abandonment that Braddon established in Lady Audley’s Secret.
10. For the definition of ‘Female Gothic’ see Moers, Literary Women. 11. ‘Audley Court used to be a convent, and in fact the first human presence in this desolate place overgrown with moss, reminiscent of the ruined mansions dear to the authors of Gothic tales, is that of the quiet nuns who have walked there hand in hand. These women, surrounded by ancient walls, are the first female icon in the text, the first of a series of versions of femininity that is offered, and their presence suggests the possibility that in spite of apparent differences, Lady Audley’s Secret may still be struggling with the legacy of the Gothic tradition’ (Briganti, ‘Gothic Maidens and Sensation Women’, pp.
In her book Unstable Bodies, Jill L. Matus asserts that ‘[while] it is remarkable how closely the confinement of Lady Audley parallels accounts of the occasion on which Lady Rosina Lytton was committed, there is no evidence from Braddon’s correspondence with Bulwer Lytton that she based her representation of incarceration on circulated accounts of Lady Rosina’s confinement’ (p. 201). However, it seems highly improbable that Braddon would ever have ‘dared’ to refer explicitly to Lytton’s familiar matters in her letters as ‘devoted disciple’.