Romantic Confessions #5
☆ Be the first to review + Add to your collection — Join freeIn "Every Afternoon at Four," ambitious Marva finds herself drawn into the quiet world of high-society Alec, whose family home defies her expectations—and her assumptions. As Alec’s busy schedule sends his friend Norm to keep her company, Marva begins to see a different side of him, one that complicates her own plans. A tender, character-driven story from 1951, this issue captures a moment of quiet revelation, with Billy Ely’s expressive art bringing emotional depth to a relationship tested by class, expectation, and the unspoken rules of connection. The cover by John Prentice captures the story’s intimate, bittersweet tone.
In "Every Afternoon at Four," a chance reunion stirs old feelings when wealthy businessman Reggie returns to his hometown with his girlfriend Phyllis, only to find himself drawn to nurse Lola. As Phyllis grows jealous and departs, Reggie faces a quiet heartbreak when Lola, mindful of their different worlds, must let him go—though not without a promise that lingers in the space between them.
In "I Was That Colman Girl," Ginny struggles to find her place after moving to a new town following her mother’s death. As she navigates loneliness and the lingering shadow of her past relationship with the rebellious Rick, she finds unexpected connection with Kent—only to realize her history might cost him everything. Written with quiet emotional weight, the story explores the quiet cost of reputation and the fragile hope of a second chance.
In "Sunset of Love," Jean’s quiet rebellion begins when he paints a portrait of a woman from his imagination, sparking tension with his controlling girlfriend Paulette. As Jean grows closer to Claudia, the gallery owner who introduces him to impressionism, Paulette’s grip on his art—and his life—starts to slip. Meanwhile, Paulette takes on a new protégé, Henri, and insists he avoid portraits too, setting up a quiet echo of the same divide she once enforced.
In "The People on the Drive," ambitious Marva finds herself caught between two worlds when she's invited to Alec’s family estate—only to discover their warmth and humility clash with her own expectations. As Alec’s busy schedule sends Norm to keep her company, Marva begins to question her own values, and her growing awareness of Alec’s engagement to someone far more genuine forces her to confront the cost of her ambitions.
In "Crying Is Not for the Theatre...", Helen watches from afar as Barry steps into the spotlight of the stage, his dreams taking flight while she stays hidden in the quiet of the theater’s elevator. Though she’s been quietly watching him from the shadows, her heart aches when he seems to move on—until a moment of truth reveals what she’d long hoped: his feelings never left her.
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