Did Lalo Montego commit suicide in the bullring--and if so, why? And why did he leave his ranchero, hacienda, and bulls to his once-upon-a-time stepdaughter, Alyssa Dunlap, rather than to his only son, Adriano? Alyssa is left wondering if Adriano’s sudden romantic interest in her is the result of true love, or just a maneuver to reclaim an inheritance he believes is rightfully his. The popular matador Funuco de Galena also warns her about Adriano's intentions, but he has his own reasons to disrespect Adriano, since the handsome young bullfighter threatens to surpass Funuco’s renown in the ring. And someone is shooting Montego bulls before they even reach the corrida. A heart-felt story that will thrill all lovers of romantic suspense!
ROMANCE IN AFRICA! He was young and handsome, standing there beneath a blue-gum tree, the sun in his gleaming hair and golden eyes, and she had no choice whatever but to fall for him, innocent as she was. But years later when she returned to Africa as a journalist, she sought to expose the man she had once loved as an unscrupulous profiteer exploiting the native wildlife. Secretly, though, she longed to rediscover her lost and one true love. "Welcome to Lionspride," he said. And she walked right through his door and into his arms!
Move over, Jessica Fletcher and Miss Marple! Make room for another aging woman amateur sleuth--Carolyne Santire, plant-hunter extraordinaire! Carolyne's search for the next major botanical find takes her to Brazil in South America, where she encounters political machinations, mayhem, and...murder. The suspect list is long--fellow scientists, Brazilian land barons, prospectors, a cuckolded video director, a rock star--and, eventually, even her! During the shooting of an entertainment film in the Amazon jungle, amidst threats from a man-eating jaguar, cannibals, and a mysterious British kidnapper, Carolyne finds the prospect of ferreting out the real killer anything but a leisurely stroll in the park. Can she solve the mystery before the next murder occurs? A great "cozy" mystery read by a master storyteller.
Alamar, the home of award-winning Cuban poet Juan Carlos Flores, is the setting for his collection, The Counterpunch and Other Horizontal Poems) / El contragolpe (y otros poemas horizontales). Constructed as a self-help community in eastern Havana, Alamar is the largest housing complex in the world. Flores’s highly structured texts, organized into “art galleries,” present prose paintings of a big place in very small form. Flores builds a poetic landscape with repeating structures that mirror Alamar’s five-floor walkups. Exploring life and dream on the flat surfaces of the poems, he gives fleeting glimpses of perception and survival at the urban margins. As the poet ages, so ages Alamar itself. Yet both find renewal through poetry. The eighty poems in this bilingual edition offer the first English translation of a complete Flores collection. It will also be of interest to Spanish-language readers seeking access to Cuban literature abroad. Award-winning scholar and translator Kristin Dykstra has compiled an introduction in which she presents Flores, his literary contexts, and references in his poems. Because Flores made specific requests regarding translation, fascinating notes also clarify and expound on choices Dykstra makes in the English version. A deluxe edition with a handmade, limited-edition color linocut print, including a letterpress-printed poem signed by the author, is available directly from the University of Alabama Press.
"Joe and the Halloween Mystery" is a thrilling story of good versus evil. Joe is a brave person and an angel who embarks on an action-packed spiritual journey as he searches for his own happy ending. However, he must first face the creepy creatures of a haunted night and battle terrifying demons. The world celebrates Halloween once a year, but what happens when evil is out of control? Powerful men seemingly want to save the world, yet they hide more nefarious intentions. A witch named Samara appears on Halloween night to lead a coven of witches and warlocks. Joe will have to fight against their rituals, spells, invocations, and ceremonies to ensure good prevails over evil.
This impressive compilation offers a nearly complete listing of sound recordings made by American minority artists prior to mid-1942. Organized by national group or language, the seven-volume set cites primary and secondary titles, composers, participating artists, instrumentation, date and place of recording, master and release numbers, and reissues in all formats. Because of its clear arrangements and indexes, it will be a unique and valuable tool for music and ethnic historians, folklorists, and others.
Middle-aged Troy Banaliq is a burned-out lawyer from South Jersey who vacations in Baja California where he is entertained by the professional women of Tijuana. The wares of many ladies of the night are sampled by him until he meets the blond bombshell Angelita. The sexual passion between them ignites immediately and he soon falls madly in love with her as does she for him. When he returns to his law practice, a duplicitas client sells in him out by telling the Assistant District Attorney a b
Tirso de Molina's Marta the Divine (c. 1614-15) is a spirited comedy about an ingenious young woman who fakes religious piety in order to avoid an arranged marriage imposed upon her by her father. Marta's false religiosity becomes a cover for sneaking her boyfriend into her house and, to all intents and purposes, having a sexual relationship with him without her credulous father suspecting a thing. The stakes involved in this risky gambit are particularly high because her boyfriend, Felipe, is also the man who has killed her brother. In this fast-moving play that celebrates the victory of youth over age, of love over revenge, little is held sacred, as circumstances spiral to the point of outrageousness. Not surprisingly, Marta has been a controversial play over the years, condemned for immorality and salaciousness by some, championed as an anticlerical tract by others. Readers and audience members over the years have puzzled as to what Tirso wants us to make of the title character and her behaviour. Is she a cautionary example, a sly hypocrite, whom we are to hold at a critical distance? Or she is a sympathetic comic heroine, even a proto-feminist, whose cause we are to embrace? No matter one's perspective, Marta is memorable because of the audaciousness and resourcefulness of the title character. Marta is a great stage creation, and the plot Tirso builds around this trickster has the feel of the archetypal, transcending the time and place of its creation. At the same time, Marta is a surprisingly comprehensive satire of the Spanish empire of its day. Through a variety of subtle touches, Tirso paints a picture of an imperial capital plagued by avarice and hypocrisy. The play has some puzzling elements or 'problems' from a technical point of view, but the irresistible force of its comic energy has appealed to readers and audiences for nearly 400 years. This edition presents the play for the first time ever in English translation. The translation is accompanied by the Spanish text, translators' note and a substantial introduction.
