Lilah Stevens first season was the worst a lady could ever have. She hadn’t been a mere wallflower, she’d been the Wallflower. The one that had ended up with her name on everyone lips and a ruined reputation. Before that fateful day no one had ever noticed her. Afterwards, she couldn’t show her face in society without the whispers being uttered at her mere presence. It had been enough to make anyone run and hide, but she refused to allow him that satisfaction. She would make that infernal viscount rue the day they had ever crossed paths, even if it made her reputation terminally unrepairable. Henry Collins, the Viscount of Harcrest had always been a consummate rake. He didn’t see any reason to change. He loved his life and it was a grand one. As far as he was concerned, he didn’t have a care in the world, and he liked it that way. He doesn’t pay any attention to rumors, but after that fateful encounter he wonders if perhaps it is time he should. Surely, he couldn’t have done what she suggested. Even he wasn’t that depraved… Lilah wishes she could once again embrace the identity of a wallflower, a role she used to hate, but that is a past she can never reclaim. But somehow, she starts to wonder if she had it all wrong and it might be enough to lead her to a place she never expected: love.

The Wallflower Avant-Garde argues for the importance of a strain of modernist formalism based in ekphrasis, the literary imitation of the visual arts. Often associated with a conservative aesthetic of wholeness, permanence, and autonomy, ekphrastic writing also involves excess, failure, and mimesis, conjuring an aesthetic sense of closure and unity out of impossible imitations. This choreography of imitation and autonomy resonates with many of the foundational insights of queer theory: the way it situates identity as an effect of performativity, artifice, and mimesis. Unlike many queer theorists, however, this book insists that we value both the imitations and the aspirations that guide them, underlining not only the illusoriness of identity but also its allure. This more capacious formalism allows aspects of modernists aesthetic that have seemed regressive or repressive to be read as generative forms of stasis, quiet, reserve, shyness, and so on.

When a scorned wallflower, Miss Julia Harbison, plots revenge on the roguish Lord Rushington, a dance floor mishap turns into a game of love and deception. Can truth and passion outshine vengeance? When a drunken gentleman mistakes her for another on the dance floor, Miss Julia Harbison must battle the gossip and whispers alone. Without any apology or explanation, Lord Rushington leaves her to fade into the background, forcing her into the guise of a wallflower. Angry at his lack of consideration, Julia plots her revenge – to make him fall in love with her before shattering his heart to pieces. Viscount Benedict Rushington is a gentleman inclined towards revelry and has no intention of finding himself a bride. However, his eye is caught by a mysterious young lady who hides away at the side of society but whose smiles pluck at his heart. All the more intrigued, he encourages her to step out a little more, finding himself entirely caught up with her. When the truth is revealed, will Benedict confess how much he adores her? And can Julia bring herself to break the heart of the gentleman she has come to love?

Uses of disability in literature are often problematic and harmful to disabled people. This is also true, of course, in children’s and young adult literature, but interestingly, when disability is paired and confused with adolescence in narratives, compelling, complex arcs often arise. In From Wallflowers to Bulletproof Families: The Power of Disability in Young Adult Narratives, author Abbye E. Meyer examines different ways authors use and portray disability in literature. She demonstrates how narratives about and for young adults differ from the norm. With a distinctive young adult voice based in disability, these narratives allow for readings that conflate and complicate both adolescence and disability. Throughout, Meyer examines common representations of disability and more importantly, the ways that young adult narratives expose these tropes and explicitly challenge harmful messages they might otherwise reinforce. She illustrates how two-dimensional characters allow literary metaphors to work, while forcing texts to ignore reality and reinforce the assumption that disability is a problem to be fixed. She sifts the freak characters, often marked as disabled, and she reclaims the derided genre of problem novels arguing they empower disabled characters and introduce the goals of disability-rights movements. The analysis offered expands to include narratives in other media: nonfiction essays and memoirs, songs, television series, films, and digital narratives. These contemporary works, affected by digital media, combine elements of literary criticism, narrative expression, disability theory, and political activism to create and represent the solidarity of family-like communities.

Tragedy and humiliation made Mercy Price a forgotten wallflower. Fate will grant her vengeance – and true love. A full-length sweet romance about cold revenge, thawing hearts, and the redeeming power of love. After losing her mother and most of her hearing to fever, Mercy Price slips into obscurity inside her own family. When a band of noble second sons called the Four Horsemen publicly humiliate Mercy, her dreadful stepmother’s ensuing campaign of terror forges Mercy into a survivor bent on revenge. Mercy’s opportunity for retribution arrives with one astonishing catch. The author of the revenge plan is the terribly handsome August Wycliff – one of her former tormentors now living under an alias. A man who supposedly died on the battlefields of Spain. Certain Wycliff doesn’t remember her, Mercy dives into his madcap plan to present her as a foreign noblewoman at the Horsemen’s grand house party, have her win the ardor of each, and then take their precious tokens of brotherhood before rejecting them. Little does Wycliff know, Mercy plans to humble him as well. To do so, she must slip behind his defenses and uncover evidence of wrongdoing with which she might destroy him. Why he desires vengeance against his former friends remains a mystery to Mercy, as does another inconvenient fact – Wycliff has recognized Mercy from the start. Astonished by Mercy’s transformation, he tries to dismiss his mounting fascination with her by considering Mercy no more than a tool of vengeance against the Horsemen for their cold betrayal on the day of his supposed death. Wrapped in swirling secrets and immersed in fractious banter, Mercy and Wycliff work together to carry out the complex ruse. However, a powerful and growing mutual attraction leads each to regret what they might sacrifice for the sake of vengeance – including a future that includes friendship, love, and… perhaps even each other.

List of members in each volume.