By Nina Stibbe
"Breezy, subtle, hilarious, impolite and aching with sweetness: LOVE, NINA may be the main fascinating booklet I've ever read." --Maria Semple, writer of Where'd You move, Bernadette In 1982, 20-year-old Nina Stibbe moved to London to paintings as a nanny to 2 opinionated and vigorous younger boys. In common letters domestic to her sister, Nina defined her trials and triumphs: there's a cat no one likes, suppertime visits from a well-known neighborhood playwright, a mysteriously unpaid milk invoice, and repeated misadventures parking the relatives motor vehicle. Dinner desk discussions conceal the gamut, from the greats of English literature, to swearing in German, to sexually transmitted ailments. There's no finish to what Nina can research from those boys (rude phrases) and their broad-minded mom (the who's who of literary London). a captivating, hilarious, sweetly inspiring social gathering of undesirable meals and strong corporation, "Love, Nina" makes a tender woman's adventures in a brand new international come alive. (less)
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Additional resources for Love, Nina A Nanny Writes Home
The drawback of this explanation is that it reduces its human subjects to automata driven by the single passion of self-interest – which conforms neither to Smith’s hypothesis nor to his observations. Smith was interested in creating a moral defence of economics in the name of liberty, not in declaring that God had intended for humans to be selfish. e. historical) process (WN I, 25), which calls into question the notion of a divine order present since the beginning of time, and even implies that some day the order created by the invisible hand might come to an end.
This might be a useful moment to remind the reader, however, that one of my larger arguments in this study is that invisible hand social theory is not just an economic idea, and that we should not limit its possible meanings to those emphasized by Smith or his economic followers. In later chapters I will explore how the idea of a morally enriched space unfolding over time in ironic and unpredictable ways was adopted and elaborated in realist novels, as well as in economic theories that seem to have little to do with Smith.
In this chapter I would like to focus on the dream of social visibility offered by Smith’s economic theory, which is the first systemic overview of the economic revolution that accompanied industrialism in Britain. But just as a landscape may be coherent from one point of view and confusing from another, this overview is dependent on the construction of a distinct social vantage point. indd 21 3/17/2011 10:24:59 AM 22 The ‘Invisible Hand’ and British Fiction, 1818–1860 is a figure of leisure, like the disinterested gentleman, but unlike him he has no distinct political power.