When the passing Special Forces sisters came across the narcissistic young emperor, it was just a chance for them to be together like chickens flying and dogs dancing. She had militarized his concubine and his father-in-law, and he had to leave whether he was in bed or not. The little emperor was furious, and when the emperor was able to wash his face and dress by himself and use the five girls in the empty rooms, everyone in the palace respected her. She was even more impressive than he was, and he hated her to death.He wanted revenge, he wanted to poison, he wanted to make them ... But if she made a mistake, she would become her man.
When the passing Special Forces sisters came across the narcissistic young emperor, it was just a chance for them to be together like chickens flying and dogs dancing. She had militarized his concubine and his father-in-law, and he had to leave whether he was in bed or not. The little emperor was furious, and when the emperor was able to wash his face and dress by himself and use the five girls in the empty rooms, everyone in the palace respected her. She was even more impressive than he was, and he hated her to death.He wanted revenge, he wanted to poison, he wanted to make them ... But if she made a mistake, she would become her man.
"Drawing on the recollections of renowned theater critic David Austin Latchaw and on newspaper archives of the era, Londre chronicles the "first golden age" of Kansas City theater, from the opening of the Coates Opera House in 1870 through the gradual decline of touring productions after World War I"--Provided by publisher.
First in a new series from the national bestselling author of Witch Fury. When the Summer Queen of the fae orders Aislinn Finvarra to act as a guide for a half-incubus who is known to possess dark magick and sexual power, she must protect not only her heart, but her very life.
In the daytime, she looked at the breathless and unsightly scene. The love she had said before had been reduced to a joke, and he had appeared just in time. "Woman, be my imperial concubine." She had despicably become his concubine and his plaything. He seemed to pamper her to the bones, but he never allowed her to conceive his child. Later on, she found out that a woman who lost her heart was the most foolish, while a man who lost his heart was the most heartless ...
Arranged in alphabetical form, the entries in this thesaurus are suited to home, office and student use and are designed to provide the word being sought quickly. It contains over 150,000 entries with cross-referencing and both British and American English.
This Peking Opera tale from the Song Dynasty was the likely catalyst for Carlo Gozzi's The Green Bird. Newly translated and adapted, it contains the original Chinese text on facing pages. Paired with The Green Bird, the two plays vividly contrast the dramaturgy of two diverse cultures within the same basic story.
THE FIRST NOVEL IN THE NEW YORK TIMES BESTSELLING ELDER RACES SERIES! Half-human and half-wyr, Pia Giovanni spent her life keeping a low profile among the wyrkind and avoiding the continuing conflict between them and their Dark Fae enemies. But after being blackmailed into stealing a coin from the hoard of a dragon, Pia finds herself targeted by one of the most powerful—and passionate—of the Elder races. As the most feared and respected of the wyrkind, Dragos Cuelebre cannot believe someone had the audacity to steal from him, much less succeed. And when he catches the thief, Dragos spares her life, claiming her as his own to further explore the desire they’ve ignited in each other. Pia knows she must repay Dragos for her trespass, but refuses to become his slave—although she cannot deny wanting him, body and soul...
In medieval Japan (14th–16th centuries), it was customary for elite families to entrust their young sons to the care of renowned Buddhist priests from whom they received a premier education in Buddhist scriptures, poetry, music, and dance. When the boys reached adolescence, some underwent coming-of-age rites, others entered the priesthood, and several extended their education, becoming chigo, or Buddhist acolytes. Chigo served their masters as personal attendants and as sexual partners. During religious ceremonies—adorned in colorful robes, their faces made up and hair styled in long ponytails—they entertained local donors and pilgrims with music and dance. Stories of acolytes (chigo monogatari) from the fourteenth to sixteenth centuries form the basis of the present volume, an original and detailed literary analysis of six tales coupled with a thorough examination of the sociopolitical, religious, and cultural matrices that produced these texts. Sachi Schmidt-Hori begins by delineating various dimensions of chigo (the chigo “title,” personal names, gender, sexuality, class, politics, and religiosity) to show the complexity of this cultural construct—the chigo as a triply liminal figure who is neither male nor female, child nor adult, human nor deity. A modern reception history of chigo monogatari follows, revealing, not surprisingly, that the tales have often been interpreted through cultural paradigms rooted in historical moments and worldviews far removed from the original. From the 1950s to 1980s, research on chigo was hindered by widespread homophobic prejudice. More recently, aversion to the age gap in historical master-acolyte relations has prevented scholars from analyzing the religious and political messages underlying the genre. Schmidt-Hori’s work calls for a shift in the hermeneutic strategies applied to chigo and chigo monogatari and puts forth both a nuanced historicization of social constructs such as gender, sexuality, age, and agency, and a mode of reading propelled by curiosity and introspection.
