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Audiences began to desert her, and a few years later she broke with Gottsched. The revival of German theatrical life from the s onwards is nevertheless a tribute to the efforts of Caroline Neuber, and if by her last years on the stage her style seemed old-fashioned this is proof of how far the reforms had been successful. She ended her days, though, in very reduced circumstances, dependent on the charity of well-wishers. As the daughter of a Danzig doctor, Luise Culmus enjoyed a much wider and more intellectually adventurous education than most girls of her station, learning English, French, geography, mathematics and music from members of her family.

Her correspondence with Gottsched before their marriage shows her maturity, intelligence and willingness to learn, but also — and this quality is evident to the end of her life — her subordination of all her talents and energies to him. For Gottsched comedy was primarily satirical and aimed to ridicule human shortcomings with the purpose of correcting them and encouraging wisdom and virtue. He also demanded a certain realism in speech, commensurate with the lower social standing of comic, as opposed to tragic, figures. The unities must be observed, the time of the action ideally not running over about ten hours.

The play must have five acts and involve an element of mystery or intrigue that is resolved at the end. Her plots are, in the main, too simple to sustain a five-act play. She retains to some extent the use of comic names to denote virtues and vices, and yet in probably her best original comedy, Das Testament The Will , she tries to move beyond black and white contrasts and point the moral in more conciliatory terms. While the pretensions of the Dorfjunker are made to look ridiculous, the chief lesson has to be learned by Herr Wilibald, who is finally persuaded that his desire to marry above himself is foolish and unnecessary in a man of his talents and wealth.

The implication is that the sensible and unpretentious German family has virtues enough without adopting foreign manners. Das Testament deals with the attempts of a brother and sister to secure a handsome legacy from their wealthy aunt. Their sister, the sensible and honourable Caroline, treats her aunt with honesty and respect and is rewarded with a legacy when the will is read, though the aunt confounds them all by deciding in the end to remarry.

These qualities are also evident in her most famous adaptation, Die Pietisterey im Fischbeinrocke. Frau Gottsched transposes the action with complete success to Germany and aims the satire at the Pietists, who were influential in her native Danzig. So controversial was the subject matter that the play, published anonymously, was not only never performed but was actually banned in some states. Her attitudes as reflected in her writings and in her letters are conservative. What one might tentatively say is that comedy gave her the opportunity to show some female characters as more independent and less governed by social custom than most actual women could afford to be.

No women later in the century left such a mark on theatre and drama as Frau Neuber and Frau Gottsched. Women continued to be active, however, both on the stage and as dramatists. Actresses wrote for the professional theatre and women wrote for the flourishing amateur theatrical life, but little of this work was published, and what was published usually appeared anonymously or was presented as a translation. It was not until well into the nineteenth century that the work of women dramatists became essential to the theatrical repertoire.

The emergence of letter-writing The period to saw the large-scale expansion of letter-writing, with both men and women conducting vast correspondences, often with people they never met face to face. The letter became a demanding and 55 56 lesley sharpe cultivated form of writing in an age in which the development of the affective life and the cult of friendship brought an increased need to communicate thoughts and feelings. The Pietist tradition had also left a legacy of reflection and self-examination that found expression in the letter.

As a culture of letter-writing emerged, women were frequently encouraged to put their literary talents to use in this activity and they often excelled at the spontaneous, lively, communicative letter. Both Gottsched and, more influentially, Gellert saw women as having the simplicity and directness of style to make the letter combine naturalness and literary value. Of the vast quantities of letters written by women, only a small fraction survives. These, however, provide increasing evidence as the century progresses of the accomplishment of women in this genre; and this becomes even more apparent in the Romantic period.

Naturally, the cultivation of a correspondence was confined to the aristocracy and the prosperous middle classes. Letters provided then as now a means of maintaining friendships. Travel for women was uncommon and difficult and letters helped to enlarge the world for female correspondents. They also gave women the opportunity to report and reflect on their daily existence and relationships and thus provided a means of self-expression.

The letter created also a small public for its writer, for apart from such private matters as love letters, it was rarely written for the recipient only, but was passed round, read aloud in excerpts and passages were even copied. We can see the change in the possibilities of the letter as a communication of the personality and affective life if we look at the first published collection of letters by a German woman. In fact they still owe much to an older school of letter-writing that laid stress on discussion of an issue and logical composition.

The recipients of the letters are not named because the interest is in the issues rather than in the personalities — whether girls should be allowed to study, how to bring up children, whether quarrels over rank are important, whether it is important for sons to be sent abroad. The letters combine a lively style with practical wisdom but by comparison with letters written later in the century are anything but personal confessions.

Ziegler was concerned to show that women could write a sensible, intelligent and entertaining letter. The Enlightenment While Ziegler was publishing that first collection, young Luise Culmus had embarked on her correspondence with her future husband, Gottsched. These letters were recognized as fine examples of the genre by her husband but she forbade publication during her lifetime.

They show a serious but also witty and intelligent correspondent, whose letters are written in a precise and elegant style. Her early letters show her eagerness to learn from her prominent suitor, her willingness to respond to his guidance in the matter of her reading and also her deference to his opinion. While responding in a lively manner to all his reading suggestions, she is quickly put in her place if she oversteps the mark and she accepts this.

In her later letters to her friend Dorothea von Runckel Frau Gottsched shows a much greater need to unburden herself. Briefe, vol. My summer is past; the rough autumn gathers the fruits of the seasons past and I have no desire to linger long into the rapidly approaching winter. Yet such was the resonance for the next generation of their relationship that she became almost a mythical figure. Meta Moller came from a well-situated Hamburg family. While her two elder sisters made conventional marriages, Meta opted for the unusual course of marrying for love a man who had no recognized profession.

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Though she never strove to be learned, she was well-read and intelligent, and her letters and posthumously published writings show her own, sadly undeveloped, poetic talent. All of her letters reflect her ability to capture her mood and to speak with an arresting directness to the recipient, but it is in her correspondence with Klopstock that we see her creating in the letter form a method of capturing an intense emotional 57 58 lesley sharpe relationship.

What gave the Klopstock—Meta relationship its power for future generations was the combination of romantic love and religious sentiment. Their letters, and hers to him in particular, are evidence of a communion of souls in which the reciprocity of love is woven together with Christian spirituality. Thank goodness that at least I still have that.

But how infinitely sweeter it would be to have you with me! I miss you most of all when I come home in the evening, for I am catching up now on all the visits I neglected on your account. O how inexpressibly sweet it was to know that I would find you in my room! Meta helped to establish a correspondence between her husband and the English novelist some few months before her death and her letters to Richardson show how even in a foreign language she was able to convey spontaneity and depth of feeling: Though I love my friends dearly, and though they are good, I have however much to pardon except in the single Klopstock alone.

He is good, really good, good at the bottom, in all his actions, in all the foldings of his heart. I know him; and sometimes I think if we knew others in the same manner the better we should find them.

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For it may be that an action displeases us which would please us, if we knew its true aim and whole extent. None of my friends is so happy as I am; but no one had the courage to marry as I did. They have married, — as people marry; and they are happy, — as people are happy. Briefwechsel vol. The Enlightenment Better known for her patriotic odes, religious and occasional poems and for her gift of rapid improvisation, she fascinated Berlin society when she was brought there in from her native Silesia. Born into humble circumstances, and neglected by her mother on account of her plainness, she was taught to read and write as a child by a great-uncle.

Divorced by her first husband in possibly the first divorce among subjects of her station in Prussia , she was forced to leave her home and her two children, while already expecting a third child. Under family pressure she then married a tailor who drank, fathered four children and beat her.

Through commissions for occasional poems she began to use her extraordinary facility for writing verses to supplement her meagre income. The emergence of this Naturtalent aroused great curiosity in Berlin. She gained the support of the philosopher Sulzer and of the poets Ramler and Gleim, the latter a constant friend and adviser in spite of the difficulties caused in the early months of their relationship by her unrequited love for him. It was he who attached to her the name of the German Sappho and tried to secure her financial future by having an edition of her collected poems printed in It brought in 2, Thalers, more than any literary work before it, though that windfall did not in fact guarantee her an easy life and she frequently suffered acute shortages of money thereafter.

The designation of Anna Luise Karsch as a Naturtalent sprang from the longing in some literary circles for a poetry that was not the product of learned deliberation and the study of rules, and from the desire to believe in a pre-civilized world, where poetry sprang spontaneously from the lips of the poet. Her letters to Sulzer describing her earlier life are stylized to fit that idealized vision of country life. Once introduced by Gleim to the language of rococo dalliance, Karsch takes this into her poetry and her letters to him.

Yet it is clear that for her this is not mere role-playing, and her own emotions break through the gallant language. When Gleim makes it clear that he does not intend an actual romantic involvement her pain is evident in her directness: Sagen Sie von Ihrer kalten Freundschaft, was Sie wollen. Gedichte, p. The word love was there before the word friendship, and to me it has such sweetness in it that I must give it preference.

Take care never to make love ridiculous in my eyes again! Now that I am no longer spurred on to write poetry to provide my next meal nothing has the overwhelming power to inspire me so much as love. Yet her ability to make verses on any and every occasion was for others what made her a Naturtalent. In fact, her most prominent poems, for example her odes to Frederick the Great, owe more to the Baroque tradition than to any spontaneous style of her own, genuine though her veneration for the king might have been.

The arguments surrounding Anna Luise Karsch illustrate well the poetological controversies of the day. They indicate also how difficult it was for her contemporaries to place her and their consequent tendency to overlook what was really of value in her work. The healthy man is wasteful with the juice of the grape; to the lips of sick man the wine he cannot drink tastes refreshing even in his dreams. Sophie La Roche and the emergence of the woman novelist Sophie La Roche is a key figure in the emergence of the German woman of letters.

She was also, with Anna Luise Karsch, one of the first German women whose writing was an important source of income for her family and thus her career brings us into the period when a reading public was forming, whose interests and tastes increasingly shaped what was offered by publishers. Though famous in her day, Sophie La Roche was neglected after her death by the nineteenth-century literary historians whose judgements formed the canon of eighteenth-century works, because much of her output was primarily for women readers and was often didactic in intention.

Yet her energy and range are impressive. However, it is true that her style seemed old-fashioned as time passed and her range of tone and expression was limited. Sophie La Roche enjoyed the benefits of being brought up in an academic family, the daughter of a doctor, who taught her to read and write. Her education was supplemented in her teens by an Italian doctor, Gian Lodovico Bianconi, a friend of her father, to whom she became engaged and who instructed her in mathematics, singing, Italian and art.

Her reading and literary interests were further cultivated by her cousin Christoph Martin Wieland, later to become one of the most prominent writers of the German Enlightenment, to whom she was engaged for a time. Though again no marriage ensued, Wieland later brought her to the public eye by encouraging her to finish and publish her first novel. She constantly returns in 61 62 lesley sharpe her work to her belief that women should acquire through suitable reading a store of useful knowledge about the world around them. In this respect she belongs to the Enlightenment tradition, despite all the sentimental qualities of her works.

For her and her heroines, moral goodness goes hand in hand with a character-building awareness of the world. It satisfied contemporary demands for a measure of realism, some depth of psychological motivation and an appeal to the emotions, while providing outer action that was fast-moving and exciting. It is fitting that the first great novelistic success for a woman should come from a novel in letter form, for, leaving aside the influence of Richardson, the letter was, as we have seen, a type of writing in which women in the eighteenth century excelled and which gained from naturalness and liveliness of style.

Her father is an ennobled officer, her mother a member of an old aristocratic family. An orphan at eighteen, Sophie is brought to the court of D. Sophie attempts to cling to the principles of her upbringing while not being experienced enough to see how she is being compromised. After seeking rescue in what turns out to be a sham marriage to the rake Derby she enters a period of testing when all that she relied on is removed.

While possessed of extreme moral sensitivity, Sophie does not collapse under the weight of her misfortunes. She does not pine away but rather seeks useful activity. We are meant to see the happy ending as a vindication of goodness and courage by a benevolent providence, but La Roche also reveals, probably contrary to any conscious intention, the vulnerability of a woman without male protectors. Her next novel, Rosaliens Briefe —81 , though very popular, already has a more prescriptive tone.

One of them, uncharacteristically for her time, devotes herself to scholarship. This then is the feminine counterpart to the contemporary cult of idealistic male friendships. By such examples we see Sophie La Roche trying to stretch the frontiers of female experience and activity.

Her travel writing documents journeys to countries such as France, Switzerland, Holland and England, and combines information, anecdote and personal impressions in an easy, mellifluous style. Instead of marrying she begins a school for girls with a young widow and is entirely fulfilled by this activity — another female utopia, created by a widow who is glad to be 63 64 lesley sharpe free and a woman who commits herself to celibacy in pursuit of her vocation. The next generation of women writers was encouraged by the example of Sophie La Roche. However, few novels by women in the eighteenth century, interesting evidence though they may supply about attitudes and depictions of women, come close to her achievement.

The prime example of the novel as vehicle for a deeply conservative view of woman is Elisa, oder das Weib wie es seyn sollte ; Elisa, or what women should be like , usually attributed to Wilhelmine Karoline von Wobeser though external evidence suggests the possibility of a male author or a man working with a woman — see Gallas and Heuser, pp.

Elisa is forced by family pressure to renounce her true love and enter into a marriage with a cold, boorish tyrant, who squanders their fortune and entertains a mistress. This novel was immensely successful, went into six editions and provoked numerous variations on its themes and title. Its popularity is a reminder that although in Romantic circles a more progressive view of women was entertained, such a view was far from being shared by the majority of men or women. Ein Beitrag zur Geschichte der Konvenienz Luise. A contribution to the history of social propriety; Both novels show a remarkable honesty in their depiction of the heroine.

Luise can be seen as a negative counterpart to Elisa. Also forced by family pressure to make an unsuitable match, she is by nature excessively sensitive and prone to illness. The stresses of her situation drive her to madness and even though she tries repeatedly to find a way of making her husband happy, both by devotion and by good sense, she is trapped and at the mercy of his selfishness, folly and brutality. Huber reveals the terrible dependency of her heroine on an indifferent husband and an insensitive The Enlightenment family in which the daughter is a burden to be off-loaded as soon as possible.

A boarding school story; , another considerable popular success, which satirizes the German fashion for adopting French manners and education. The result is the loss of her simple goodness and destruction of her moral character. As well as showing a strongly anti-French and anti-court tendency, the novel reflects the contemporary fear that women are endangered morally by knowing too much. The warning example here is the head of the school, Madame Brennfeld, who combines philosophical freethinking with snobbery and a moral insouciance fatal to her charges.

A second novel appeared in , in which the repentant Julchen is reunited with her father. Unger produced this mainly because of the stir caused by the original work and by the appearance of an anonymous sequel by another author. It is instructive to compare the attitudes in these novels with the assumptions that underlie the emerging Bildungsroman. Women were increasingly required by the end of the century to be gebildet, that is cultivated and moderately well-read.

However, Bildung as an ideal embodied in the Bildungsroman is primarily related to male experience and possibilities and thus the female Bildungsroman has seemed to some critics a contradiction in terms. Whereas the male hero goes out into the world as a kind of representative figure and grows to maturity and insight through experience, the openness to change and receptivity to life that are the preconditions of the maturing process in men are presented as problematic and even hazardous for women see also Gallas and Heuser; Touaillon.

A contrast to the didactic tone of much fiction by women is provided 65 66 lesley sharpe by the work of Benedikte Naubert, which is only just receiving new critical attention. Her speciality became the fairy tale and, most importantly, the historical novel, which she pioneered in Germany both with her own novels and through her many translations. Her technique of presenting a fictional family history against a historical background influenced Sir Walter Scott. Her main concern as a novelist is in swiftness and abundance of action.

These encouraged, as we have noted, female literacy and informative reading. While numerous journals aimed at a female readership sprang up in the following decades and women were frequent contributors to them, the first journals to be edited by women for women began to appear in the late s and 80s. It ran for only two years —4 and the reasons for its discontinuation are not clearly established. Her readers were, in any event, greatly disappointed when publication ceased. Pomona named after the goddess of autumn shows the didactic and educational goals of the editor and also her skill and journalistic flair.

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She denies from the start that she wants to make her readers learned but they should be informed The Enlightenment in matters of history, geography, literature, natural history and the rudiments of science so that they can understand something of the world about them. After losing this post, possibly because of the controversial tenor of some of her material, she published in her own right a shortlived journal Die Einsiedlerin aus den Alpen The settler from the Alps.

Ehrmann takes up again the theme of the need for better education for women, claiming it does not conflict with their Bestimmung calling. Die Einsiedlerin aus den Alpen is even more explicitly satirical of male attitudes, especially those that condemn women to uselessness and thereby bring about the vanity that men then criticize. It would be the task of nineteenth-century women writers and journalists to exploit the journal in the cause of female emancipation.

For women, however, the promise of the Revolution, as of the Enlightenment, remained largely unfulfilled. Its ideals of liberty and equality were undermined by a gender-exclusive interpretation of the ideal of fraternity, or the brotherhood of man. Since the political upheavals of the problematic legacy of the revolutionary decades has acquired a new topicality. An understanding of it is, therefore, essential, not least in view of the intensity of current debates on gender roles, the origins of which may be traced back to this period.

The years following the Revolution saw numerous publications concerned with gender roles and the nature and function of women. In the early s three treatises advocating for women the rights claimed by men appeared almost simultaneously in different European countries. These essays were concerned not with the rights and status of women, but with gender characteristics, and they exerted a decisive influence on [68] Revolution, Romanticism, Restoration attitudes to women well into the twentieth century. This is particularly the case with the writings of Schiller and Humboldt.

Both developed antithetical conceptions of gender difference in terms of sexual polarity, and Schiller disseminated these in poems which enjoyed great popularity among the German middle classes throughout the nineteenth century and beyond. The influence of German culture on other countries enabled these ideas to gain widespread currency elsewhere, too.

According to Schiller and Humboldt, women were naturally passive and emotional, lacking in the rational and analytical capacity which was seen as the prerequisite both for social action and for the creation of artistic works of genius. While the domesticated woman was idealized, those who sought political power or literary fame were censured.

Even Schlegel, however, falls short of postulating complete equality between the sexes: his ideas are often ambiguous or contradictory, and he ignores the practical obstacles which prevented contemporary women from achieving the independence which, in theory, he advocated for them. These obstacles were legal, economic, educational and cultural. Legally, women were minors, dependent on their fathers before marriage and their husbands after it. As the provisions of the Prussian Civil Code of show, they lacked almost all rights, including, crucially, financial and property rights.

They were excluded from business and the professions, and from participation in public forums and affairs of state. The only alternative sources of income were needlework or, importantly, writing. In practice, very few women managed to pursue independent careers. Abstract, analytical and scientific subjects were regarded as unsuitable for the female mind, and systematic study of any kind by women was rare. This reaction illustrates vividly the cultural barriers to female emancipation which existed immediately before the Revolution.

The era of the Napoleonic Wars, although entailing much upheaval and hardship for women, brought them at the same time a measure of autonomy as traditional social structures crumbled. This liberation was, however, of brief duration. In the conservative political climate which prevailed after the Restoration of , hierarchical values were reasserted and male and female roles more sharply defined than ever.

Hegel proclaimed marriage and the family to be ethical institutions, the foundations of the state and of social order. These views were echoed by theologians and government ministers alike. The majority of these are associated with the Romantic movement, and the continuing resonance of their names is inextricably interwoven with the fascination exercised by that movement down to the present day, while other women are known for their association with Goethe or Schiller.

Revolution, Romanticism, Restoration There is, however, a greater diversity of women writers in this period than can be accommodated under the traditional headings of either Romanticism or Classicism. They wrote in virtually all the major genres, fictional and non-fictional: lyric, drama, prose narrative, letters, diaries, autobiography, travel writing, educational and journalistic works. They also made a significant contribution to cultural life as hostesses of salons, and as reviewers and translators. In general, these women had enjoyed an education superior to that of most women of the time: some were members of the aristocracy, while several were daughters of university professors or of prosperous Jewish families.

They were well read in German and often in other modern literatures — acceptable subjects of study for women — and some knew the classics and even philosophical works. Nevertheless, their writing, unlike that of many men of the period, does not tend to the creation of grandiose theoretical edifices or overarching schemes of thought. Whatever their learning, they were discouraged from the ostentatious display of it. They concentrate instead on the specific, the concrete, and the personal, making up for gaps in their knowledge, or for its haphazard acquisition which sometimes left them deficient in such areas as orthography and syntax , by a freshness, a spontaneity and a directness which makes much of their work still worth reading today.

Her life, too, is not untypical: an educated middle-class background; a marriage ending in divorce; a period of relative independence and the attempt to establish a career, which was for a time successful; the eventual abandonment of creative writing; efforts to scrape a living by other means; increasing impoverishment; and final dependence on the charity of others. These typical features are, however, combined with more unusual aspects. She was under fifteen when in , a year after the death of her father, a professor of medicine at the University of Erfurt, she married a physician who was also an adventurer, bookseller, theatre director and writer.

She became, too, a celebrated actress while retaining her respectability: in she played the female lead in the first performance of Kabale und Liebe Intrigue and Love by Schiller, and became friendly with him. Her poems, stories and plays appeared in three volumes, the last in Subsequently she turned her hand to 71 72 judith purver gothic novels. However, her situation steadily worsened: she was divorced in or and after published no more literary works. In old age she wrote cookery books.

Many of them centre on love, often expressed in terms of absence, loss, deprivation, grief and suffering. Nevertheless, awareness is shown both of the connection between personal autonomy and creative self-expression and of the social constraints placed on women. Here in this male zone the myrtle will not flourish for me.

Mereau, born in Altenburg, Thuringia, the younger daughter of the ducal secretary, constantly chafed against these restrictions and championed love, freedom, and physical, emotional and intellectual fulfilment for women. In she married Karl Mereau, subsequently Professor of Law at the University of Jena, who had introduced her to Schiller and thereby set her literary career in train. Her house became a centre of social and cultural life, but the marriage was unhappy and the couple divorced in For the next two years Mereau supported herself and her daughter by her writing, reluctantly marrying the Romantic writer Clemens Brentano in when she became pregnant by him.

She died giving birth to her fifth child in , aged thirty-six. Two volumes of her poems appeared in and , and a collected edition came out in Like many women writers of the period, she tried her hand at a wide range of genres, both fictional and non-fictional. She was also socially and politically active, and as a result frequently came into conflict with authorities.

Male writers and critics have treated her with ridicule and contempt. She is, however, of interest as a chronicler of Parisian life, and some of her poems are worthy of note. One of them, dedicated to her friend Therese von Winkel, anticipates Rilke in its use of rose imagery. Sands Homosexuelle in der Kirche? Homosexuality, Which Homosexuality? Furia Pierwsza Anderson, Will Hrsg. Reents ? Arbeiterkampf Hrsg. Arbeitsgruppe "Repression gegen Schwule" Hrsg. Juli , Bilanz und Perspektiven der Frauenprojektebewegung: Dokumentation eines Kongresses, 6. Dezember in Berlin Archiv der Jugendkulturen e.

Berliner Pop- und Subkulturarchiv Archiv der Jugendkulturen e. Ein Report. Warum verliebe ich mich immer in die falsche Frau? Fischer Barlow, Clare Hrsg. Der Himmel ist blau. Publikationen von Frauen e. Mai - 8. Die Dimensionen ausloten: Oktober Berman, Shari J.

Tanzende Steine: Liebesroman el! Lesben und Schwule - k ein Thema in der Altenhilfe? November bis 3.

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    Frankfurt am Main Hrsg. Der Mann im Kinde: 1. MacKinnon, M. Anders leben. Schernikau Aufbau Frings, Matthias Hrsg. Deutscher Aids-Kongress: Hannover, November Programm Futuramed G. Geschichte und Gesellschaft 35 S. Magnus Hirschfeld Wege aus der Gefahr R. April gay liberation front e. Sind das noch Damen? Beck Gerlach, Martina and et al. GFSS Kongressbericht 3. Das war ": Miterlebt. Junge Lesben und Schwule in der Jugendhilfe: Fachtag GruppenleiterInnen-Grundkurs: Waldkraiburg, 3. Lesben und Schwule - was nun? Blind Date: Ausstellung Symonds, E.

    Carpenter, E. Ludwig II. Februar bis April bis 3. Goed verkeerd: Een geschiedenis van homoseksuele mannen en lesbische vrouwen in Nederland Meulenhoff Helbig, Ulrike and Fraueninfobus Hrsg. Hof-Atelier Elvira: Dezember bis 2. Geschlecht und Verbrechen: Bearbeitet von Dr. Jahrgang I. Ich bin jetzt auf jeden Fall super gespannt, wie es weiter geht. Habt ihr die Reihe schon gelesen? Wie fandet ihr sie und welcher Teil war euer liebster? Auch Grace ist schon lange in Ethan verliebt, doch sie ist sich nicht Sicher wie es bei ihm aussieht.

    Ethan hat dazu auch noch die Schatten seiner Kindheit zu verarbeiten und muss sich entschieden wie sein Leben in Zukunft aussehen soll. Nachdem mir der erste Teil der Quinn-Saga sehr gut gefallen hat, hatte ich mich auf Teil zwei schon sehr gefreut und habe voller Vorfreude mit dem Lesen begonnen. Der Einstieg ist mir recht leicht gefallen und dementsprechend schnell bin ich durch das Buch gekommen und hatte es innerhalb von zwei Tagen beendet gehabt. Dem Handlungsverlauf konnte man immer sehr gut folgen nur die Entscheidungen die im Laufe der Handlung getroffen wurden konnte ich nie so ganz nachvollziehen.

    Auch die verschiedenen Handlungsorte waren so beschrieben, so dass man sich diese gut vor dem inneren Auge entstehen lassen konnte. Ich ehrlich gesagt noch nicht Sehr empfehlenswert! Es ist Wahnsinn, wie nah dieses Buch von der Gegenwart kommt. Schaut im Blog ab 18 Uhr vorbei, wenn es euch interessiert. Teil der Dark-Love Reihe aus dem heyne. Teil der Reihe aus Tylers Sicht. Ich habe die Reihe letztes Jahr so gesuchtet. Als die junge Ivy Jenkins schwanger wird, schickt ihr liebloser Stiefvater sie fort — ins St. Sam beginnt die schreckliche Geschichte von St. Margaret's zu recherchieren.

    Und die tief verstrickt sind mit ihrer eigenen Familiengeschichte. Dieses Buch geht tief. Vielleicht nicht genau so. Das macht betroffen. Wir begleiten die Journalistin Sam dabei, wie sie die ungeheure Geschichte von Ivy entdeckt, recherchiert, aufdeckt. Heute sehen wir schwarz… und zwar schwarze Buchcover! Doch kann sie ihnen trauen? Was ist passiert? Und ist er wirklich alleine auf der Insel? Ich war getriggered. Bevor ich es denn gelesen habe, ist einige Zeit vergangen und ich habe den Film eher gesehen. Mochte den Film und das Buch trotzdem sehr. Werbung selbstgekauft Mein currentlyreading und ich bin fast fertig.