In a palace full of schemes, Maddy finds herself a pawn in someone else’s game… After her father and brothers passed away in a war against the king, Maddy sought to live as quietly as possible in her lucky position as a lady-in-waiting. But after some strange events, she begins to suspect someone wants her dead. Maddy must pull herself together and think clearly, but she can’t figure out whether her relationship with a certain handsome kennel master is a distraction, a strategic marriage or destiny…
In a palace full of schemes, Maddy finds herself a pawn in someone else’s game… After her father and brothers passed away in a war against the king, Maddy sought to live as quietly as possible in her lucky position as a lady-in-waiting. But after some strange events, she begins to suspect someone wants her dead. Maddy must pull herself together and think clearly, but she can’t figure out whether her relationship with a certain handsome kennel master is a distraction, a strategic marriage or destiny…
First published in 1981. A Concordance to the Poems of John Keats intended to provide the user with a volume suitable to the varying and increasingly specialised interests of scholarship. This title offers a high degree of inclusiveness that attends to the poems and plays, the emended and authoritative headings, and virtually all of the variant readings considered substantive in the riches of the Keats manuscript materials. This title will be of interest to students of literature.
Lieutenant Eve Dallas hunts for the killer of a seemingly ordinary history teacher—and uncovers some extraordinary surprises—in this thriller in the #1 New York Times bestselling In Death series. Eve Dallas doesn’t like to see innocent people murdered. And the death of history teacher Craig Foster is clearly a murder case. The lunch that his wife lovingly packed was tainted with deadly ricin. And Mr. Foster’s colleagues, shocked as they may be, have some shocking secrets of their own. It’s Eve’s job to get a feel for all the potential suspects—and find out why someone would have done this to a man who seemed so inoffensive, so pleasant...so innocent. Someone Eve could easily picture dead is an old flame of her billionaire husband Roarke, who has turned up in New York and manipulated herself back into his life. Consumed by her jealousy—and Roarke’s indifference to it—Eve finds it hard to focus on the Foster case. But when another man turns up dead, she’ll have to keep in mind that both innocence and guilt can be facades...
Whose truth is the lie? Stay up all night reading the sensational psychological thriller that has readers obsessed, from the #1 New York Times bestselling author of Too Late and It Ends With Us. #1 New York Times Bestseller · USA Today Bestseller · Globe and Mail Bestseller · Publishers Weekly Bestseller Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of bestselling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity’s notes and outlines, hoping to find enough material to get her started. What Lowen doesn’t expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read. Page after page of bone-chilling admissions, including Verity's recollection of the night her family was forever altered. Lowen decides to keep the manuscript hidden from Jeremy, knowing its contents could devastate the already grieving father. But as Lowen’s feelings for Jeremy begin to intensify, she recognizes all the ways she could benefit if he were to read his wife’s words. After all, no matter how devoted Jeremy is to his injured wife, a truth this horrifying would make it impossible for him to continue loving her.
London, 1465. An alien, foreboding place for fifteen-year-old peasant girl Anne, arriving to work as a servant at the household of a wealthy merchant. Danger and menace lurk around every dark corner, for Anne's rare beauty provokes jealousy, lust and intrigue. As England awakes from the nightmare of the War of the Roses, a charismatic new king is on the throne. Yet peace is fragile - there are those close to the crown with traitorous minds and murderous intentions. Possessing an extraordinary knowledge of herbs and healing, Anne soon finds herself at the dangerous heart of court affairs. However, one man at the palace has less honourable plans for her. As forces stronger than any healing powers take hold, Anne is left trapped in an impossible position - to serve her queen, or fulfil her king's desires?
Passage of the first copyright law in 1710 marked a radical change in the perception of authorship. According to Laura J. Rosenthal, the new construction of the author as the owner of literary property bore different consequences for women than for men, for amateurs than for professionals, and for playwrights than for other authors. Rosenthal explores distinctions between legitimate and illegitimate forms of literary appropriation in drama from 1650 to 1730. In considering the alleged plagiarists Margaret Cavendish (the Duchess of Newcastle), Aphra Behn, John Dryden, Colley Cibber, and Susanna Centlivre, Rosenthal maintains that accusations had less to do with the degree of repetition in texts than with the gender of the authors and the cultural location of the plays. Questions of literary property, then, became not just legal matters but part of a discourse aimed at conferring or withholding cultural authority. Struggles over literary property must be seen in the context of competing conceptions of property in general, Rosenthal asserts, and she shows how both Filmerian and Lockean models gender the position of the owner. Drawing on feminist theory and from scholarship in history, philosophy, and political science, Rosenthal debates the relationship between women and property in modern England. Gender and class, she contends, continue to influence judgments as to what stories a playwright can own or use, as to whom critics praise as heirs to Shakespeare and Jonson, and as to whom they damn as plagiarists.
