By Megan McCafferty
Jessica Darling’s in college!
Things are having a look up for Jessica Darling. She has eventually left her New Jersey hometown/hellhole for Columbia collage in ny urban; she’s extra into her boyfriend, Marcus Flutie, than ever (so what if he’s at a Buddhist collage in California?); and she’s making new acquaintances who simply could qualify as stand-ins for her loved ally, Hope.
But Jessica quickly realizes that her bliss will possibly not final. She lands an internship at a snarky Brooklyn-based journal, yet will she slot in with the überhip employees (and will she even wish to)? As she and Marcus hit the rocks, will she prove falling for her GOPunk, neoconservative RA . . . or the recent (and married!) Spanish grad scholar she’s supporting on a summer season undertaking . . . or the oh-so-sensitive emo boy down the corridor? Will she even make it via university now that her mom and dad have lower her off financially? And what do the cryptic one-word postcards from Marcus relatively suggest?
With hilarious perception, the hyperobservant Jessica Darling struggles via her collage years—and the summers in between—while retaining her traditional mixture of wit, cynicism, and candor.
From the Hardcover edition.
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Extra resources for Charmed Thirds: A Jessica Darling Novel
As a key member of a group of late nineteenth-century intellectuals, nicknamed ‘the Souls’*, Violet talked about art and berated the philistinism of the Victorian age. She was also much admired for her own amateur gifts, with several of her busts and her silver-point and pencil portraits exhibited in London galleries. A reputation for being different, even mildly rebellious, had attached itself to her. While Violet deferred to the formal duties of a Duke’s wife, she clearly preferred intimate suppers to grand dinners and court events.
1 Yet over the following days she would be feted by artists and critics as a black pearl, an ebony Venus, a jazz age vamp with the soul of an African goddess. Postcards of ‘La Baker’ went on sale, as did a range of Josephine dolls. Her shiny black hair and coffee-coloured skin, the source of so much abuse back home, were harnessed to the marketing of French beauty products: hair pomade for the glossing of Eton crops; walnut oil for the faking of summer tans. Her hard, supple body was celebrated as an icon of contemporary style – reflecting the glossy streamlined aesthetic of art deco and the gamine flair of the French garçonne.
They were written about by the same novelists and journalists, photographed for the same publications. But biography is essentially about the colour and detail of individual lives and in writing this book I’ve been fortunate to profit from the groundwork of many other fine biographers. To their research and knowledge I owe a profound debt. In the matter of language, the 1920s was a world away from our own politically conscious era. Young women were girls, blacks were often niggers, female actors were actresses, and even though this usage can grate on modern ears, I’ve opted to retain a flavour of it, for the sake of period accuracy.