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Young Adult Books for Women

Bestsellers Ongoing Completed
The Price of Jealousy: A College Nightmare

The Price of Jealousy: A College Nightmare

My parents dropped me off at college like a princess, with a platinum card and no worries. My new life, full of independence and excitement, was just beginning. My roommate, Sarah, seemed sweet at first, a quiet girl with kind eyes. But her sweetness quickly turned sour, poisoned by resentment over my privilege. She' d sneer at my new laptop, comparing it to her brother' s grueling factory job. Then, the unthinkable happened: my emergency debit card, with over a hundred thousand dollars, vanished. A bank alert confirmed my worst fear: a $5,000 withdrawal attempt blocked. I knew, with a sickening certainty, who the thief was-the quiet girl consumed by jealousy. The betrayal shattered my idyllic college dream, leaving a bitter taste. I called the campus police, my hands shaking with fury. Sarah was arrested, my card found in her bag, and my sense of home was destroyed. I moved into a new apartment, seeking peace, but my mom' s well-meaning housekeeper, Mrs. Davis, brought a new kind of terror. She started with subtle criticisms, then tried to turn me into her domestic servant. Her demands escalated, culminating in an outrageous proposal: she wanted to control my finances and marry me off to her unemployed son, Kevin. The audacity of her plan, the sheer delusion, made my blood run cold. When I fired her, she called my mom, trying to slander me, but my mom shut her down cold. As she stormed out, my grandmother's silk scarf, a cherished gift, was found crumpled in her bag. Just like her daughter, she was a thief and a liar. I thought the nightmare was over when Kevin, her "good, strong boy," was leaning against my apartment door. His sneer, his entitlement, and the reek of stale cigarettes chilled me to the bone. He raged about his family, about how they were entitled to my money, our money. The fear was sharp, but my own anger surged. Then, I came home to a ransacked apartment, my belongings destroyed, and Kevin sitting in my armchair, drinking my dad's scotch. Mrs. Davis was there too, silently watching, complicit. My phone was shattered. They laid out their plan: I would empty my accounts, sign over my car, give them everything. Then, maybe, they' d let me go. Trapped, I feigned submission, my mind racing for an escape. In a desperate, reckless moment, I grabbed my heavy coffee pot from the kitchen. With a surge of pure, unadulterated rage, I swung.
Unloved Daughter, Unbreakable Spirit

Unloved Daughter, Unbreakable Spirit

After three years away, the day finally came: my parents and little sister were coming home. My heart pounded with a desperate hope, imagining the hugs and loving welcomes I' d missed. But when they arrived, their eyes went straight to my doll-like sister, Brittany, leaving me, Chloe, standing invisible in the doorway. "You' ve gotten so… big," my mother, Sarah, stated flatly, her gaze making my simple clothes feel cheap and ugly. Brittany' s innocent-sounding jab, "Mommy, she looks like a country girl," was met with my dad' s chuckle and my mom' s tired smile, twisting a knife in my chest. What followed was a slow, agonizing realization: I wasn' t a daughter, but a utility. My hands bled from endless chores, yet my mother dismissed it as "attention-seeking." I overheard my father declare my future: stuck in our small town, running the family store, "good enough for her." Then came the slap-a public humiliation, a burning sting on my face for a spilled candy jar worth mere cents. Their casual cruelty overshadowed any physical pain, confirming I was nothing more than a nuisance. My grandmother, the only warmth in my world, held me as I sobbed. "Some people are just not meant to be in your heart," she whispered, her words a bitter truth. I tried again, making my mother a birthday cake with my own saved money, only for her to call it "ugly" and knock it to the floor, shattering it-and my last vestiges of hope. The final blow came when my mother accused me of theft, hitting me so hard my head throbbed, while my father stood by. Then Brittany ran in, crying over a scraped knee, and their immediate, doting concern made it sickeningly clear: her minor discomfort outweighed my brutal reality. Why was their love so conditional, so utterly, devastatingly absent for me? Why did their concern instantly shift to a superficial scrape while my pain was invisible, dismissed, or even caused by them? How could a family be so blind, so callous, to its own child? The answer solidified with chilling clarity: I was done trying to earn a love they would never give. That night, I started tearing up every academic achievement, every proof of my efforts, a quiet declaration of war: I would not be their victim.
Monsieur de Camors -- Volume 1

Monsieur de Camors -- Volume 1

by MAXIME DU CAMP, of the French Academy OCTAVE FEUILLET OCTAVE FEUILLET'S works abound with rare qualities, forming a harmonious ensemble; they also exhibit great observation and knowledge of humanity, and through all of them runs an incomparable and distinctive charm. He will always be considered the leader of the idealistic school in the nineteenth century. It is now fifteen years since his death, and the judgment of posterity is that he had a great imagination, linked to great analytical power and insight; that his style is neat, pure, and fine, and at the same time brilliant and concise. He unites suppleness with force, he combines grace with vigor. Octave Feuillet was born at Saint-Lo (Manche), August 11, 1821, his father occupying the post of Secretary-General of the Prefecture de la Manche. Pupil at the Lycee Louis le Grand, he received many prizes, and was entered for the law. But he became early attracted to literature, and like many of the writers at that period attached himself to the "romantic school." He collaborated with Alexander Dumas pere and with Paul Bocage. It can not now be ascertained what share Feuillet may have had in any of the countless tales of the elder Dumas. Under his own name he published the novels 'Onesta' and 'Alix', in 1846, his first romances. He then commenced writing for the stage. We mention 'Echec et Mat' (Odeon, 1846); 'Palma, ou la Nuit du Vendredi-Saint' (Porte St. Martin, 1847); 'La Vieillesse de Richelieu' (Theatre Francais, 1848); 'York' (Palais Royal, 1852). Some of them are written in collaboration with Paul Bocage. They are dramas of the Dumas type, conventional, not without cleverness, but making no lasting mark.
Monsieur de Camors -- Volume 2

Monsieur de Camors -- Volume 2

by MAXIME DU CAMP, of the French Academy OCTAVE FEUILLET OCTAVE FEUILLET'S works abound with rare qualities, forming a harmonious ensemble; they also exhibit great observation and knowledge of humanity, and through all of them runs an incomparable and distinctive charm. He will always be considered the leader of the idealistic school in the nineteenth century. It is now fifteen years since his death, and the judgment of posterity is that he had a great imagination, linked to great analytical power and insight; that his style is neat, pure, and fine, and at the same time brilliant and concise. He unites suppleness with force, he combines grace with vigor. Octave Feuillet was born at Saint-Lo (Manche), August 11, 1821, his father occupying the post of Secretary-General of the Prefecture de la Manche. Pupil at the Lycee Louis le Grand, he received many prizes, and was entered for the law. But he became early attracted to literature, and like many of the writers at that period attached himself to the "romantic school." He collaborated with Alexander Dumas pere and with Paul Bocage. It can not now be ascertained what share Feuillet may have had in any of the countless tales of the elder Dumas. Under his own name he published the novels 'Onesta' and 'Alix', in 1846, his first romances. He then commenced writing for the stage. We mention 'Echec et Mat' (Odeon, 1846); 'Palma, ou la Nuit du Vendredi-Saint' (Porte St. Martin, 1847); 'La Vieillesse de Richelieu' (Theatre Francais, 1848); 'York' (Palais Royal, 1852). Some of them are written in collaboration with Paul Bocage. They are dramas of the Dumas type, conventional, not without cleverness, but making no lasting mark.