In helping someone I love, I lost my life. Or did I? Cut off from my body, I live in the home of a god who’s willing to train me, to help me fully embrace my powers, both as a witch and as a reaper. But while I lay in a coma, the men I left behind suffer, desperate to find a way to bring me back. I want to return to them, but our family is not complete. One is missing, a member of the coven who was lost before they found me. And I must go on a quest to Purgatory and bring him back, or we’ll forever be incomplete. I’m coming home to my men, to my family, but will my return bring relief or doom us all?
Sensation novels, a genre characterized by scandalous narratives and emotionally and socially provocative dialogue and plots, had their heyday in England in the 1860s and 1870s, in the midst of growing concern about codes of behavior in marriage. Exploring the central metaphor of marital violence in these novels, Marlene Tromp uncovers the relationship between the representations of such violence in fiction and in the law. Her investigation demonstrates that sensational constructions of gender, marriage, "brutal" relationships, and even murder, were gradually incorporated into legal debates and realist fiction as the Victorian understanding of what was "real" changed. --from publisher description.
[I stole my fated mate's wallet!] "I want you all to search every nook and cranny of that city. Get me that girl alive. I want to torture her myself!" Jax roared in anger. How dare she? Does she think he's dumb not to know she was the one? She must be really dumb but he must confess. She was really a smart and scheming fellow to be able to pull that off. Aurora is a 23 years old werewolf from the Blood moon pack. She lives in the slums with her mother and younger sister. In order to provide for her poor mother and her sister's education she started doing petty crimes from the like of stealing from their neighbors and picking pockets. She was successfully going scot-free with her crimes till she got hooked when she stole the wallet of Jax, a ruthless and merciless Alpha who happens to be her pack's Alpha without her knowing. What happens when she had to finally return home to the pack due to her mother's sickness and met the man she stole his wallet as her fated Alpha?
Between 1881 and 1897, Benito P rez Gald s, generally acknowledged as Spain's greatest nineteenth-century novelist, composed some twenty "contemporary" novels, which Geoffrey Ribbans characterizes as the peak of his achievement. This monumental study traces the evolution of the many strands that make up one of them: the long and complex novel Fortunata y Jacinta. Ribbans examines the various stages of composition, not only the earlier, reconstructed Alpha version but also subsequent revisions in the much corrected handwritten text and in the printer's galleys. He treats these tentative drafts as part of the process of reaching out toward the coherent definitive text. Ribbans's analysis of such devices as the ambiguous role of the narrator, the use of free indirect style and direct dialogue, and the construction of distinctive ideolects leads to the heart of his study, the development of Gald s's characters.
Finding love and a fresh start in Laughing Falls—can Madison convince Sully love is worth the risk? Madison is more than just a pretty face - she's intelligent and determined. But when her fiancé betrays her with her best friend, she flees to Laughing Falls in search of a fresh start. Little does she know, her ex has no intention of letting her go—he needs her to save the family business. Fortunately, Sully Hawthorne is there to lend a helping hand. Though he's been burned by love before, Sully can't deny the attraction he feels towards Madison. Once she is safe, can Madison persuade Sully to take a chance on love?
Consequences follow actions. Actions determine worthiness. Worthiness costs more than believed. When 118-year-old warrior Aurora is banished to Earth from her home world—the Gold Planet of Andorra—she loses her powerful sword and Special Power (the ability to control fire). On Earth, Aurora finds herself in the world of the Death Givers—a superhero organization tasked with stopping the dreaded Disappearances (kidnappings) from overwhelming the nation of Blood Dawn (formerly known as North America). While helping the Death Givers stop the Disappearances, Aurora struggles with keeping her true identity—she is a vampire!—from Earth’s humans and deciding where exactly a romance with one of the Death Givers fits into the life that she becomes a part of. Will Aurora return home and regain her sword and her Special Power after her reckless actions ignite a deadly war? Or will she fall victim to a sacrifice curse that will cost her everything, including her worthiness and her life?
First Published in 1996. This text looks at the cinema from the countries of Argentina, Brazil, Canada, Chile, Colombia, Cuba, United States, Uruguay and Venezuela. Presented by country and date order it includes the silent black and white Gaucho films of 1915 to the colour films coming out of Venezuela in 1991. Each entry provides a summary of the film content, its context, production and significance in the genre. It includes an index and glossary of Brazilian (Portuguese or African) Terms and film terms.
Murder and Mistaken Identity Lead to Love in Violet Fire, a Historical Romance by Jo Goodman -- 1746, England and Virginia Colony -- Wrongly accused of murdering her abusive step-father, Shannon Kilmartin never expected to leave Newgate prison until she's sold as an indentured servant to work as a governess in the Virginia Colony. Brandon Fleming never escaped the memory of the beautiful raven-haired woman he met in Cambridge. He was so captivated that upon returning to the Tidewater Plantation in the Virginia Colony, he married Aurora because she held an uncanny resemblance to that raven-haired beauty. But it was in appearance, only. Now, abandoned by Aurora and left to raise a child on his own, Brandon faces a lonely future and needs a governess for his daughter. When Shannon arrives in Tidewater, she's immediately mistaken for the wayward Aurora and is not greeted with enthusiasm by anyone except Brandon's daughter. Brandon recognizes Shannon as the young girl who captivated him four years prior and though he tries to resist, cannot deny the attraction he feels. Then Brandon's missing wife's parents arrive to visit, forcing Shannon to play the role of Brandon's wife, which soon leads to mutual attraction. But, the love growing between them is soon tested when Aurora returns with her lover and a shocking secret. PUBLISHER'S NOTE: For fans of Jo Goodman we bring you one of her earliest books freshly edited, by Jo Goodman herself, for today's readers. Fans and readers of Mary Jo Putney, Kat Martin, Jo Beverly, Courtney Milan and Stephanie Laurens will not want to miss this tale of mistaken identity, intrigue and second-chance love. ALSO BY JO GOODMAN: Violet Fire Scarlet Lies Sweet Fire THE MCCLELLANS Crystal Passion Seaswept Abandon Tempting Torment THE HAMILTON FAMILY More Than You Know More Than You Wished THE COMPASS CLUB Let Me Be The One Everything I Ever Wanted All I Ever Needed Beyond A Wicked Kiss THE DENNEHY SISTERS Only My Love My Heart's Desire Forever in My Heart Always in My Dreams Only in My Arms THE MARSHALL BROTHERS Her Defiant Heart His Heart's Revenge THE THORNE BROTHERS TRILOGY My Steadfast Heart My Reckless Heart With All My Heart MEET JO GOODMAN: Jo Goodman is a licensed professional counselor working with children and families in West Virginia’s Northern Panhandle. Always a fan of the happily ever after, Jo turned to writing romances early in her career as a child care worker when she realized the only life script she could control was the one she wrote herself. She is inspired by the resiliency and courage of the children she meets and feels privileged to be trusted with their stories, the ones that they alone have the right to tell. Once upon a time, Jo believed she was going to be a marine biologist. She knows she is lucky that seasickness made her change course. She lives with her family in Colliers, West Virginia.
The horse was essential to the workings of Victorian society, and its representations, which are vast, ranging, and often contradictory, comprise a vibrant cult of the horse. Examining the representational, emblematic, and rhetorical uses of horses in a diversity of nineteenth-century texts, Gina M. Dorré shows how discourses about horses reveal and negotiate anxieties related to industrialism and technology, constructions of gender and sexuality, ruptures in the social fabric caused by class conflict and mobility, and changes occasioned by national "progress" and imperial expansion. She argues that as a cultural object, the horse functions as a repository of desire and despair in a society rocked by astonishing social, economic, and technological shifts. While representations of horses abound in Victorian fiction, Gina M. Dorré's study focuses on those novels by Charles Dickens, Elizabeth Braddon, Anna Sewell, and George Moore that engage with the most impassioned controversies concerning horses and horse-care, such as the introduction of the steam engine, popular new methods of horse-taming, debates over the tight-reining of horses, and the moral furor surrounding gambling at the race track. Her book establishes the centrality of the horse as a Victorian cultural icon and explores how through it, dominant ideologies of gender and class are created, promoted, and disrupted.
