When hired as an official destination photographer for Sizzle Island, Ava Cole isn’t prepared to be pulled into a whirlwind week of seduction by a billionaire tech genius. Believing the urban legends that surround Hunter Constantine and the Apollyon Corporation, Ava lets her mind wander to ideas of being ravaged by a sexy vampire, but is it all in her head? Of course, it is. The heir to the corporate empire is a handsome prankster who likes making mischief for his own enjoyment while forced to be tucked away from the world. Hunter’s true jokester ways may seem innocent enough, but behind the scenes, the handsome billionaire has a sexual prowess that will take Ava to the heights of her hidden desires on the island of seduction. Fears and secrets unfold in this steamy romance when a mysterious illness that keeps Hunter hidden from the sun is more than he’s led to believe. Will Ava teach the heir to the legendary CEO to live again, or will Hunter go back into hiding in his underground world?

As the world's thousands of believers gather in Jerusalem for a stadium rally, the Tribulation Force struggles with their own personal crises. Newspaper reporter Buck Williams and his wife, Chloe, question whether or not they should have a child when the future of the world is so uncertain. Meanwhile, Rayford Steele discovers the shocking truth about his wife, Amanda. Nicolae Carpathia continues his rise to power, forcing believers underground. But Nicolae isn't prepared for a plague of scorpion-like locusts tormenting his followers—with a pain so horrible that men try to kill themselves but aren't allowed to die. A repackage of the fifth book in the New York Times best-selling Left Behind series.

Drawing together some of the leading academics in the field of Shakespeare studies, this volume examines the commonalities and differences in addressing a notionally 'Celtic' Shakespeare. Celtic contexts have been established for many of Shakespeare's plays, and there has been interest too in the ways in which Irish, Scottish and Welsh critics, editors and translators have reimagined Shakespeare, claiming, connecting with and correcting him. This collection fills a major gap in literary criticism by bringing together the best scholarship on the individual nations of Ireland, Scotland and Wales in a way that emphasizes cultural crossovers and crucibles of conflict. The volume is divided into three chronologically ordered sections: Tudor Reflections, Stuart Revisions and Celtic Afterlives. This division of essays directs attention to Shakespeare's transformed treatment of national identity in plays written respectively in the reigns of Elizabeth and James, but also takes account of later regional receptions and the cultural impact of the playwright's dramatic works. The first two sections contain fresh readings of a number of the individual plays, and pay particular attention to the ways in which Shakespeare attends to contemporary understandings of national identity in the light of recent history. Juxtaposing this material with subsequent critical receptions of Shakespeare's works, from Milton to Shaw, this volume addresses a significant critical lacuna in Shakespearean criticism. Rather than reading these plays from a solitary national perspective, the essays in this volume cohere in a wide-ranging treatment of Shakespeare's direct and oblique references to the archipelago, and the problematic issue of national identity.

MaryAnn lives with her mama on a little piece of land in Duncan County, Georgia. If you're smart, you'll keep your distance. She's a strange one, that girl, always wearing a hood to hide her face from the light of day. No one can remember what she looks like. The kids make fun of her. The grown-ups say she's evil. Now this big-city educator has come to town. Her name is Lola Aragon and she thinks she can help MaryAnn. Save her. Welcome her to a normal life. But everyone knows MaryAnn isn't normal. Lola Aragon has to learn the truth the hard way. The truth about MaryAnn. And why everybody calls her … SPOOK

Originally published in 1967. Monsman undertakes a comprehensive critical analysis of Walter Pater's fiction, which presents the critic with numerous causes of frustration, not the least of which is a lack of both dramatic narration and description. Pater is rarely vivid and firsthand in his fiction; he tends instead toward exposition. Monsman's emphasis in Pater's Portraits is "tracing out" the conscious artistic structure of Pater's fiction. The scope of Pater's writings comprises nothing less than Western culture itself; its subject is all that man has written, thought, said, sung, hoped, or prayed as a civilized creature over two and one-half millennia. Pater's success in handling such panoply is attributable to his discovery of a coherent pattern by which art, religion, and life can be organized. Monsman aims to discover in Pater's fiction the use of old scientific-religious patterns of myth to explain moments of religious and cultural awakening, to reveal the way in which one man arrived at a credo that would answer to the desolation of life and culture.