By Em Garner
After the infection - a pandemic because of the super-trendy vitamin drink SlimPro that grew to become traditional voters into shambling creatures not able to regulate their violent impulses - the govt. rounded up the "Connies" to guard the remainder inhabitants. yet now, years later, the government's began sending the rehabilitated again domestic, entire with surprise collars that might both cease the Connies from committing violent acts or kill them prior to they do from now on harm.
Since her mom and dad have been taken within the roundup, Velvet Ellis has struggled to take care of her ten-year-old sister and preserve a feeling of normalcy, regardless of brutal govt rations and curfews. She is going to the "Kennels" on a daily basis looking for her mom and dad, and whilst she reveals her mom, she's wanting to convey her domestic. perhaps, finally, they'll be ready to come back to the way in which issues have been sooner than. yet although it turns out that her mom is improving (something that the govt says is impossible), there'll be no satisfied transition. Anti-Connie sentiment is excessive, and rumor has it that a good worse wave of the illness is coming near near. after which the govt pronounces that the Connies may be rounded up and neutralized, as soon as and for all.
Sacrificing every little thing - her boyfriend, her domestic, and her activity - Velvet will do whatever to guard her mom. Velvet has to get the collar off her mom prior to the army involves take her away. no matter if it capability risking all in their lives.
Gritty and grabbing, Velvet is a harrowing, emotionally charged dystopic enterprise into YA from a widely known and revered author of women's fiction.
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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.