Dive back into the sexy side of the Upper East Side with the second billionaire romance from USA Today bestselling author K.A. Linde. I finally have everything I ever wanted—fame and fortune and literary success. Only one problem: I lost my muse. He was tall, dark, and handsome. Broody, enigmatic, alluring, and right for me in every way. Until he wasn’t. Until I lost everything. And I can’t lose it all again. I’ll do anything to keep it. Even seeing him again…

Natalie gets revenge in her new dark and glamorous life on the Upper East Side in the conclusion to USA Today bestselling author K.A. Linde's billionaire romance Cruel Trilogy. Darkness swept in. Smothering everything in its inky black. I have turned into their worst nightmares. And I will not rest until they pay. For everything.

Christine de Pizan (ca. 1364–ca. 1431) has long been recognized as France’s first professional woman of letters, and interest in her voluminous and wide-ranging corpus has been steadily rising for decades. During the tumultuous later years of the Hundred Years’ War, Christine’s lone but strong feminine voice could be heard defending women, expounding the highest ideals for good governance, and lamenting France’s troubled times alongside her own personal trials. In The Mutability of Fortune, Christine fuses world history with autobiography to demonstrate mankind’s subjugation to the ceaselessly changing, and often cruel, whims of Fortune. Now, for the first time, this poem is accessible to an English-speaking audience, further expanding our appreciation of this ground-breaking woman author and her extraordinary body of work.

From the bites and scratches of lovers and the threat of flogging that hangs over the comic slave, to murder, rape, dismemberment, and crucifixion, violence is everywhere in Latin literature. The contributors to this volume explore the manifold ways in which violence is constructed and represented in Latin poetry and prose from Plautus to Prudentius, examining the interrelations between violence, language, power, and gender, and the narrative, rhetorical, and ideological functions of such depictions across the generic spectrum. How does violence contribute to the pleasure of the text? Do depictions of violence always reinforce status-hierarchies, or can they provoke a reassessment of normative value-systems? Is the reader necessarily complicit with authorial constructions of violence? These are pressing questions both for ancient literature and for film and other modern media, and this volume will be of interest to scholars and students of cultural studies as well as of the ancient world.