Finally available, a high quality book of the original classic edition of The Twickenham Peerage. It was previously published by other bona fide publishers, and is now, after many years, back in print.
This is a new and freshly published edition of this culturally important work by Richard Marsh, which is now, at last, again available to you.
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Enjoy this classic work today. These selected paragraphs distill the contents and give you a quick look inside The Twickenham Peerage:
Look inside the book:
There was Miss Desmond, as she said her name was, helping me make a rice pudding--as if she herself had ever seen one made in all her life before!--and carrying on with my two youngsters in the kitchen, just as much at her ease, for all I could see, as if children and kitchens were what she always had been used to; and now, if I could believe my eyes, was an Earl's son, come, as it seemed, to keep her company. ...'Well, Marchioness--I don't know if that's the proper way in which to address a lady in your position, but if it isn't you'll have to excuse me till I do know--you are now one of the greatest ladies in the land, and I shall have to behave to you as such. ...She smiled, in that quiet way she had, and when the one who spoke and looked as if she was a perfect lady--and I'm sure she was much more of a lady than ever I shall be--came back again, Miss Desmond got rid of her with some excuse or other, and glad enough I was.
About Richard Marsh, the Author:
A story about a mysterious oriental figure who pursues a British politician to London, where he wreaks havoc with his powers of hypnosis and shape-shifting, Marsh's novel is of a piece with other sensational turn of the 19th to 20th century fictions such as Stoker's Dracula, George du Maurier's Trilby, and Sax Rohmer's Fu Manchu novels. Like Dracula and many of the sensation novels pioneered by Wilkie Collins and others in the 1860s, The Beetle is narrated from the perspectives of multiple characters, a technique used in many late 19th-century novels (those of Wilkie Collins and Stoker, for example) to create suspense and to confuse gender boundaries.