Acqeli—The black crystal…. Lotharko of Gelthor refused to destroy it…. Riistren of Centallus discovered its dark secret…. Rhyel of New Centallus witnessed the total annihilation of his world because of it…. Acqeli—the crystal thread binding two dead planets to Earth, will change the destiny of one unsuspecting woman. Experience the chain of events that bring Amber and Rhyel together in Rose Sartin’s debut novel Bound by Honor.
Can Two Hearts Bond a Galaxy Apart? “I’ve come for you.” With those words, Rhyel of New Centallus changes Dr. Amber Donovan’s life forever. Their home world destroyed, Rhyel, six Elders, and the predominately male crew of his interstellar ship, Novaria, are the only survivors of their species. Their assailants demanded the sacred artifact known as the Acqeli. Rhyel is charged with its protection. Generations of Elders have guarded the black crystal, a translation stone capable of unlocking terrible secrets etched on the temple walls of a dead planet. To protect the Acqeli, the Centallians must colonize an uninhabited world and rebuild their race. The men barter for brides from Earth’s third world countries. But they cannot trade for the woman who is key to the colony’s survival. Rhyel may be forced to compromise his honor to obtain her. Light years from the new colony, Amber is plagued by dreams of world devastation, of the death of a stranger she calls Mother. In the aftermath of a particularly troubling dream, she discovers a man in her room—Rhyel. Like the dark incarnation of an unrelenting primitive god, his eyes burn with an intensity of purpose that terrifies her. All she wants is to go home, but she finds herself caught up in the life and death struggles of the young colony. All he wants is her, but the circumstances that draw them together must also keep them apart. Ultimately, the bond they share cannot be denied. Bound by love, they face the challenges of a new life and a new world.
Can Danger Bond Two Broken Hearts? Keeso Smith is not what he seems. The tall, muscular cowboy is more than the good-looking owner/operator of a Colorado gold mine. He’s an alien. Born and raised on Centallus, Keeso is one of a small group who survived the destruction of their home world. Now, he is stranded on Earth in Connor, Colorado. Emma Kent and her four-year-old nephew, Levi, are running from the FBI and the man who murdered Levi’s parents. Fleeing a compromised safe house in St. Louis, Missouri the two find themselves in a Connor, Colorado convenience store—with a help wanted sign in the window. The job comes with an adjoining apartment, and Connor, Colorado is about as far from discovery as a town can get. From the moment Emma falls into Keeso’s arms, he is intrigued by her beauty and by the fear in her eyes. His attraction to her is undeniable, but it’s his concern for her welfare that drives him to return to the store, even in the middle of the night, to make sure she and her nephew are safe. After an attempt is made on her life Keeso vows to protect her—a vow he considers a lifetime commitment—one she is unwilling to accept. But she cannot ignore the connection she feels to this good man, and she longs for what can never be. The killer pursues them from Colorado to Arizona and the sanctuary of the Hopi Reservation and the protection of its people. But they can’t hide forever.
Renaissance images could be real as well as linguistic. Human beings were often believed to be an image of the cosmos, and the sun an image of God. With Cosmos and Image in the Renaissance, Kathryn Banks explores the implications of this for poetic language and argues that linguistic images were a powerful tool for rethinking cosmic conceptions. She reassesses the role of natural-philosophical poetry in France, focusing upon its most well-known and widely-read exponent, Guillaume de Saluste Du Bartas. Through a sustained analysis of Maurice Sceve's delie, Banks also rethinks love lyric's oft-noted use of the beloved as image of the poet. Cosmos and Image makes an original contribution to our understanding of Renaissance thinking about the cosmic, the human, and the divine. It also proposes a mode of reading other Renaissance texts, and reflects at length upon the relation of 'literature' to history, to the history of science, and to political turmoil.
More than fifteen hundred extracts containing the Renaissance genius' maxims, prophecies, fables, letters, and brilliant observations in architecture, painting, physiology, geography, and other fields
