A Were’s forbidden desire tests the limits of loyalty.

In Marie Antoinette's Paris, the beautiful vampire Viviane seeks a male patron who will allow her to live on her own terms. Courted by two feuding brothers, Viviane succumbs to the handsome rebel, Rhys, unaware that he has other, darker, motives. He seeks revenge against his brother Constantine by stealing Viviane and tainting her with his blood. But just as Rhys realises the depth of his love for Viviane, his brother takes his revenge. By casting a spell on the woman they both desire, he condemns her to a living death inside a glass coffin. Two centuries later, Rhys hears the legend of the Snow White vampiress, imprisoned deep in the tunnels under Paris. He must find her and set her free, but will he be able to save her from the evil still intent on destroying them?

"Once upon a time, the Blood Sorcerer vanquished the kingdom of Elden. To save their children, the queen scattered them to safety and the king filled them with vengeance. Only a magical timepiece connects the four royal heirs, and time is running out. For practical Reda Weston, nothing could explain how reading a sexy version of 'Little Red Riding Hood' catapulted her into another realm, face-to-fang with the legendary wolf-creature who seduced women. A wolf who transformed into a dark, virile man. Dayn cursed the Sorcerer that turned him wolfyn and damned him to a lonely fate. As a beast, he mated with women to gain strength. Strength he needed to save Elden. But as a man, he craved Reda's heated, sizzling touch. With little time left, Dayn had to either embrace his wolf to save his kingdom, or fight it to save his woman." -- P. 4 of cover.

Beauty...and Her Beast? Desperate to escape an arranged marriage, Lidiya Rihanoff sets off to find the only man who can help her. Ged Taverner wants the world to think he's just the manager of a rock band, but Lidi knows the truth: he's a king in exile - and a shape-shifter, just like her. She's not ready for the overwhelming desire she feels for him. And he's not expecting to find his destined mate...

This book is intended to give the reader an account of the origin and history of Hallowe'en, how it absorbed some customs belonging to other days in the year,—such as May Day, Midsummer, and Christmas. The context is illustrated by selections from ancient and modern poetry and prose, related to Hallowe'en ideas. Those who wish suggestions for readings, recitations, plays, and parties, will find the lists in the appendix useful, in addition to the books on entertainments and games to be found in any public library. Special acknowledgment is made to Messrs. E. P. Dutton & Company for permission to use the poem entitled "Hallowe'en" from "The Spires of Oxford and Other Poems," by W. M. Letts; to Messrs. Longmans, Green & Company for the poem "Pomona," by William Morris; and to the Editors of The Independent for the use of five poems.

Winner of the International Lannan Literary Award for Nonfiction Animal tracks, word magic, the speech of stones, the power of letters, and the taste of the wind all figure prominently in this intellectual tour de force that returns us to our senses and to the sensuous terrain that sustains us. This major work of ecological philosophy startles the senses out of habitual ways of perception. For a thousand generations, human beings viewed themselves as part of the wider community of nature, and they carried on active relationships not only with other people with other animals, plants, and natural objects (including mountains, rivers, winds, and weather patters) that we have only lately come to think of as "inanimate." How, then, did humans come to sever their ancient reciprocity with the natural world? What will it take for us to recover a sustaining relation with the breathing earth? In The Spell of the Sensuous David Abram draws on sources as diverse as the philosophy of Merleau-Ponty, Balinese shamanism, Apache storytelling, and his own experience as an accomplished sleight-of-hand of magician to reveal the subtle dependence of human cognition on the natural environment. He explores the character of perception and excavates the sensual foundations of language, which--even at its most abstract--echoes the calls and cries of the earth. On every page of this lyrical work, Abram weaves his arguments with a passion, a precision, and an intellectual daring that recall such writers as Loren Eisleley, Annie Dillard, and Barry Lopez.

James L. Machor offers a sweeping exploration of how American fiction was received in both public and private spheres in the United States before the Civil War. Machor takes four antebellum authors—Edgar Allan Poe, Herman Melville, Catharine Sedgwick, and Caroline Chesebro'—and analyzes how their works were published, received, and interpreted. Drawing on discussions found in book reviews and in private letters and diaries, Machor examines how middle-class readers of the time engaged with contemporary fiction and how fiction reading evolved as an interpretative practice in nineteenth-century America. Through careful analysis, Machor illuminates how the reading practices of nineteenth-century Americans shaped not only the experiences of these writers at the time but also the way the writers were received in the twentieth century. What Machor reveals is that these authors were received in ways strikingly different from how they are currently read, thereby shedding significant light on their present status in the literary canon in comparison to their critical and popular positions in their own time. Machor deftly combines response and reception criticism and theory with work in the history of reading to engage with groundbreaking scholarship in historical hermeneutics. In so doing, Machor takes us ever closer to understanding the particular and varying reading strategies of historical audiences and how they impacted authors’ conceptions of their own readership.

Good Strategy/Bad Strategy clarifies the muddled thinking underlying too many strategies and provides a clear way to create and implement a powerful action-oriented strategy for the real world. Developing and implementing a strategy is the central task of a leader. A good strategy is a specific and coherent response to—and approach for—overcoming the obstacles to progress. A good strategy works by harnessing and applying power where it will have the greatest effect. Yet, Rumelt shows that there has been a growing and unfortunate tendency to equate Mom-and-apple-pie values, fluffy packages of buzzwords, motivational slogans, and financial goals with “strategy.” In Good Strategy/Bad Strategy, he debunks these elements of “bad strategy” and awakens an understanding of the power of a “good strategy.” He introduces nine sources of power—ranging from using leverage to effectively focusing on growth—that are eye-opening yet pragmatic tools that can easily be put to work on Monday morning, and uses fascinating examples from business, nonprofit, and military affairs to bring its original and pragmatic ideas to life. The detailed examples range from Apple to General Motors, from the two Iraq wars to Afghanistan, from a small local market to Wal-Mart, from Nvidia to Silicon Graphics, from the Getty Trust to the Los Angeles Unified School District, from Cisco Systems to Paccar, and from Global Crossing to the 2007–08 financial crisis. Reflecting an astonishing grasp and integration of economics, finance, technology, history, and the brilliance and foibles of the human character, Good Strategy/Bad Strategy stems from Rumelt’s decades of digging beyond the superficial to address hard questions with honesty and integrity.

A brilliant and breathtakingly vivid tour of the universe, describing the physics of the dangerous, the deadly, and the scary in the cosmos. So you’ve fallen in love with space and now you want to see it for yourself, huh? You want to witness the birth of a star, or visit the black hole at the center of our galaxy? You want to know if there are aliens out there, or how to travel through a wormhole? You want the wonders of the universe revealed before your very eyes? Well stop, because all that will probably kill you. From mundane comets in our solar backyard to exotic remnants of the Big Bang, from dying stars to young galaxies, the universe may be beautiful, but it’s treacherous. Through metaphors and straightforward language, it breathes life into astrophysics, unveiling how particles and forces and fields interplay to create the drama in the heavens above us.

Anaya draws on the Spanish-American folklore with which he grew up in this unique depiction of a Hispanic childhood in the Southwest.