Outrageously handsome, witty and clever, Harry Cust was reputed to be one of the great womanisers of the late Victorian era. In 1893, while a Member of Parliament, he caused public scandal by his affair with artist and poet Nina Welby Gregory. When she revealed she was pregnant, horror swept through their circle known as 'the Souls', a cultured, mostly aristocratic group of writers, artists and politicians who also rubbed shoulders with luminaries such as Oscar Wilde and H. G. Wells. For the rest of their lives, Harry and Nina would fight to rebuild their reputations and maintain the marriage they were pressurised to enter. In Tangled Souls, acclaimed biographer Jane Dismore tells the tumultuous story of the romance which threatened to tear apart this distinguished group of friends, revealing pre-war society at its most colourful and most conflicted.
Wiccan Gavenia Kingsgrave’s psychic gift, the ability to talk to the dead, comes with strings attached. As a Shepherd, she escorts them into the hereafter, but not all the souls want to cross over, and some can be downright vicious. When her latest case involves a heart-breaking hit-and-run victim, Gavenia is stressed to the max. The last thing she needs is a no-nonsense private detective on her tail, even if he is a handsome Irishman. Former homicide detective Douglas O’Fallon possesses his own psychic gift, one he’s denied for years. Hired by a wealthy client to prove that Gavenia’s a con artist, he is skeptical of the witch’s claims she can speak to the dead. If he finds her gift as genuine, then he will be forced to accept his own. When their two cases intersect, opposites attract. But will they be able to set their differences aside long enough to outwit their foes – both the living and the dead?
I hate that thereas evil, and that I was chosen to fight it, but because I am the thirteenth daughter born into the Devour familyait is my destinya]and my curse. I wish I hadnat been chosen. But this isnat about wishes. This is about choices. And Iave made the choice to stay and fight. I am a demon hunter. I am an angelic warrior. I am the thirteenth daughter. The mansion has drawn demons, evil spirits, and other supernatural creatures to its lair for centuries. Now one woman must stand alone against the forces of darknessa] Sabrina Devour must embark on her most frightening challenge yet, for stirring within the mansionas cold walls the threat of evil remains. But to conquer this enemy, she must first fight her own demons, including a mystical birthright inherited from angels. But Sabrina soon learns that from the darkest of deadly secrets, there is no escapea]for only when all the secrets are exposed can love, hope, and truth triumph at last!
A fire witch. A fox shifter. Magic draws us together. But are we destined for love? Or fated to be drawn apart? My name is Vivienne “Vi” Gearhart, and I’m a witch by birth. My life isn’t just teacups and tarot cards these days. As mystical storms rumble overhead and a dark curse stalks my coven, my inner witch knows change is coming. Then a fox shifter named Aiden McPherson knocks on my door—asking questions, stirring emotions, and rousing desires I hadn’t expected. Can we unravel the secrets of our own magicks—and find a way to break the curse that has sunk its teeth into the coven? The Tangled Magic Series continues in Vi and Aiden’s story, the second book in this series featuring witchy magic, small-town charm, and all the paranormal romance a reader could ask for!
Denver Beck knows his dark past must remain hidden if he ever hopes to become a master demon trapper. All that is in jeopardy when he returns home to face his dying mother. Despite her sadistic cruelty, Sadie Beck holds the greatest secret of all—the name of his father. But rural Georgia is much more than small towns, cottonfields and primordial swamps. Even with fellow trapper Riley Blackthorne watching his back, old enemies are eager to settle scores. His day of reckoning has come. Either Beck fights for his future, or his past will destroy him.
From the cabinets of wonderof the Renaissance to the souvenir collections of today, selecting, accumulating, and organizing objects are practices that are central to our notions of who we are and what we value. Collecting, both private and institutional, has been instrumental in the consolidation of modern notions of the individual and of the nation, and numerous studies have discussed its complex political, social, economic, anthropological, and psychological implications. However, studies of collecting as practiced in colonized cultures are few, since the role of these cultures has usually been understood as that of purveyors of objects for the metropolitan collector. Collecting from the Margins: Material Culture in a Latin American Context seeks to counter the historical understanding of collecting that posits the metropolis as collecting subject and the colonial or postcolonial society as supplier of collectible objects by asking instead how collecting has been practiced and understood in Latin America. Has collecting been viewed or portrayed differently in a Latin American context? Does the act of collecting, when viewed from a Latin American perspective, unsettle the way we have become accustomed to think about it? What differences, if any, arise in the activity of collecting in colonized or previously colonial societies? Spanning the period after the independence wars until the 1980s, this collection of ten essays addresses a broad range of examples of collecting practices in Latin America. Collecting during the nineteenth century is addressed in discussions of the creation of the first national museums of Argentina and Colombia in the post-independence period, as well as in analyses of the private collections of modernistas such as Enrique Gómez Carrillo, Rubén Darío, José Asunción Silva, and Delmira Agustini at the end of the nineteenth century and the beginning of the twentieth. The practice of collecting in the twentieth century is discussed in analyses of the self-described revolutionary practices of Oswald de Andrade, Augusto de Campos and the films of Ruy Guerra, as well as the polemical collections of Pablo Neruda, and the unsettling collections portrayed in Gabriel García Márquez’s One Hundred Years of Solitude.
