Why did you choose to stay? Because you felt sorry for me?In the Country of Hearts, Alice has started developing feelings for the angsty Clockmaker. She can see past Julius's doom and gloom to the gentle soul inside. When the path back home starts opening at last, Alice wonders if she'll be able to leave Julius when the time comes. Will she give up her world for a man who can barely voice his feelings?Love is timeless, but even in Wonderland the clock is always ticking.

"Alice's comfort level in Wonderland continues to grow, but something very strange is happening. Confusion, memory loss and sudden pain become associated with thoughts of home. Meanwhile, Peter cunningly finds a way into Alice's bedroom, and Vivaldi reveals a peculiar secret! And what will Alice do when she is suddenly attacked by Blood Dupre?!"--P. [4] of cover.

Once London's top thief, Barclay Pearce has turned his back on his life of crime and now uses his skills for a nation at war. But not until he rescues a clockmaker's daughter from a mugging does he begin to wonder what his future might hold. Evelina Manning has constantly fought for independence, but she certainly never meant for it to inspire her fiancé to end the engagement and enlist in the army. When the intriguing man who saved her returns to the Manning residence to study clockwork repair with her father, she can't help being interested. But she soon learns that nothing with Barclay Pearce is as simple as it seems. As 1915 England plunges ever deeper into war, the work of an ingenious clockmaker may give England an unbeatable military edge--and Germany realizes it as well. Evelina's father soon finds his whole family in danger--and it may just take a reformed thief to steal the time they need to escape.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

Kidnapped by a handsome man with rabbit ears, Alice Liddell finds herself abandoned in an odd place called Wonderland and thrust into a "game," the rules of which she has yet to learn. Alice, ever the plucky tomboy, sets off to explore and get the lay of this strange land, intent on finding her rude kidnapper and giving him a piece of her mind (and her fist). But little does she know that she's wandered right into the middle of a dangerous power struggle involving just about all of Wonderland's attractive, weapon-happy denizens. And the only way for Alice to return home is to get acquainted with the lot of them?! How in the world will she manage that and still manage to stay alive?!

Reproduction of the original: In Darkest England and the Way out by General William Booth

The world is at war. And time is running out...

This scholarly and accessible study presents “a provocative new reading” of the late sixteenth- and seventeenth-century advances in scientific inquiry (Kirkus Reviews). In The Scientific Revolution, historian Steven Shapin challenges the very idea that any such a “revolution” ever took place. Rejecting the narrative that a new and unifying paradigm suddenly took hold, he demonstrates how the conduct of science emerged from a wide array of early modern philosophical agendas, political commitments, and religious beliefs. In this analysis, early modern science is shown not as a set of disembodied ideas, but as historically situated ways of knowing and doing. Shapin shows that every principle identified as the modernizing essence of science—whether it’s experimentalism, mathematical methodology, or a mechanical conception of nature—was in fact contested by sixteenth- and seventeenth-century practitioners with equal claims to modernity. Shapin argues that this contested legacy is nevertheless rightly understood as the origin of modern science, its problems as well as its acknowledged achievements. This updated edition includes a new bibliographic essay featuring the latest scholarship. “An excellent book.” —Anthony Gottlieb, New York Times Book Review

NEW YORK TIMES BESTSELLER • Get swept away by this “haunting” (Bustle) YA novel about twelve beautiful sisters living on an isolated island estate who begin to mysteriously die one by one. This dark and atmospheric fairy tale inspired story is perfect for fans of Yellowjackets. "Step inside a fairy tale." —Stephanie Garber, #1 New York Times bestselling author of Caraval In a manor by the sea, twelve sisters are cursed. Annaleigh lives a sheltered life at Highmoor with her sisters and their father and stepmother. Once there were twelve, but loneliness fills the grand halls now that four of the girls' lives have been cut short. Each death was more tragic than the last--the plague, a plummeting fall, a drowning, a slippery plunge--and there are whispers throughout the surrounding villages that the family is cursed by the gods. Disturbed by a series of ghostly visions, Annaleigh becomes increasingly suspicious that her sister's deaths were no accidents. The girls have been sneaking out every night to attend glittering balls, dancing until dawn in silk gowns and shimmering slippers, and Annaleigh isn't sure whether to try to stop them or to join their forbidden trysts. Because who--or what--are they really dancing with? When Annaleigh's involvement with a mysterious stranger who has secrets of his own intensifies, it's a race to unravel the darkness that has fallen over her family--before it claims her next. House of Salt and Sorrows is a spellbinding novel filled with magic and the rustle of gossamer skirts down long, dark hallways. Be careful who you dance with... And don't miss Erin Craig's Small Favors, a mesmerizing and chilling novel about dark wishes and even darker dreams.

The popular image of Scotland is dominated by widely recognized elements of Celtic culture. But a significant non-Celtic influence on Scotland's history has been largely ignored for centuries? This book argues that much of Scotland's history and culture from 1100 forward is Jewish. The authors provide evidence that many of the national heroes, villains, rulers, nobles, traders, merchants, bishops, guild members, burgesses, and ministers of Scotland were of Jewish descent, their ancestors originating in France and Spain. Much of the traditional historical account of Scotland, it is proposed, rests on fundamental interpretive errors, perpetuated in order to affirm Scotland's identity as a Celtic, Christian society. A more accurate and profound understanding of Scottish history has thus been buried. The authors' wide-ranging research includes examination of census records, archaeological artifacts, castle carvings, cemetery inscriptions, religious seals, coinage, burgess and guild member rolls, noble genealogies, family crests, portraiture, and geographic place names.