'They will play with us, then destroy us... They are what we fear in the dark.' The first warning is unexpected, calculated. The second warning is a gift: a plain white mask, carefully wrapped. But white is good - white means we are only being watched. It seems the power that connects me, Anita Blake, with Jean-Claude Vampire Master of the City and Richard, leader of the werewolves, is attracting very unwelcome attention - from creatures so feared no vampire will willingly speak their name. They are known as the Harlequin, and they have the authority to pass judgement upon me. It is forbidden to speak of the Harlequin unless you've been contacted. And to be contacted is to face a sentence of death.

It was the time when the English came across the Channel to take the battle to the French.

In this modern hardcover retelling of a classic commedia dell'arte legend of tomfoolery and hopeless, fawning love, creators Neil Gaiman (The Sandman, the Newbery Medal-winning The Graveyard Book) and John Bolton (Evil Dead) update the relationship of Harlequin and Columbine. A buffoon burdened with a brimming heart, Harlequin chases his sensible, oblivious Columbine around the city streets, having given his heart freely. Consumed with love, the impulsive clown sees his heart dragged about town, with a charming surprise to bend the tale in a modern direction. Gaiman's writing is poetic and as heartfelt as the subject matter. Bolton's art, a combination of digitally enhanced photorealism and dynamic painting, provides sensational depth with bright characters over fittingly muted backgrounds. Those who have spent Valentine's Day alone are aware that the cold February holiday can be hard to swallow. Gaiman and Bolton want you to know that all it takes is a steak knife, a fork, and a bottle of quality ketchup!

A story of Nantucket whaling days. Searing hatred and vibrant love vie for the possession of captain Jabez Folger’s soul. This stemmed from his first voyage when he had an experience so evil that it changed his life. Now and then a warm and gentle spirit would emerge, his old self. Under this influence he married a lovely Quaker girl but now he had turned against dry land. His love centered on the mermaid figure head on his boat, a symbol of the beauty and indifference of the sea. A powerful book, vivid characters, a plot breathtaking in scope.

In 1922 the dance historian Cyril Beaumont contributed to the Dancing Times an article on the history of Harlequin, which as a result of continuous research since that period grew into the present volume. It covers the history of Harlequin, and of the Commedia dell'Arte, from their beginnings in the 16th century through their heydays in the 17th and 18th century and their gradual decline thereafter. The book includes more than 40 illustrations and the complete text of a Harlequinade from 1806, together with a dance for a Harlequin in Feuillet notation.

A financial empire is about to be shattered by a terrifying international conspiracy. Can Desmond help his friend Harlequin save his bank - and his family? Paul Desmond admires his close friend George Harlequin for his impeccable European breeding. Head of a prestigious Swiss bank, Harlequin belongs to a vanishing class of gentlemen whose handshake is their bond. Then their gilded world is blown apart. A computer printout identifies the Harlequin et Cie bank as the target of a gigantic takeover. The mastermind is Basil Yanko, a ruthless financial genius whose instruments are fraud, blackmail and terror. As the conflict moves from Zurich to London, New York and Mexico, Harlequin must become a 'villain by necessity'. Can Desmond help his friend save his bank-and his family? 'A skilfully woven web of fraud, blackmail and murder.' The Sunday Telegraph 'In a tiny group of best-selling novelists, Morris West qualifies as the brains of the organisation.' Time 'The classiest of thrillers.' Daily Mirror

The first interstellar starship, John Glenn, fled a Solar System populated by rogue AIs and machine/human hybrids, threatened by too much nanotechnology, and rife with political dangers. The John Glenn's crew intended to terraform the nearly pristine planet Ymir, in hopes of creating a utopian society that would limit intelligent technology. But by some miscalculation they have landed in another solar system and must shape the gas giant planet Harlequin's moon, Selene, into a new, temporary home. Their only hope of ever reaching Ymir is to rebuild their store of antimatter by terraforming the moon. Gabriel, the head terraformer, must lead this nearly impossible task, with all the wrong materials: the wrong ships and tools, and too few resources. His primary tools are the uneducated and nearly-illiterate children of the original colonists, born and bred to build Harlequin's moon into an antimatter factory. Rachel Vanowen is one of these children. Basically a slave girl, she must do whatever the terraforming Council tells her. She knows that Council monitors her actions from a circling vessel above Selene's atmosphere, and is responsible for everything Rachel and her people know, as well as all the skills, food, and knowledge they have ever received. With no concept of the future and a life defined with duty, how will the children of Selene ever survive once the Council is through terraforming and have abandoned Selene for its ultimate goal of Ymir?

When Mina joins a troupe of travelling actors, her aim is to find her missing brother, but her search unlocks a series of secrets that will change the world she knows forever. Tarya, the mystical realm spoken of in tales, is real, and her gift for story telling opens a way to it. But Tarya has a shadow side, and someone in the troupe of actors is using it to harm people. Mina soon realises she may be the only one with the power to stop them. Harlequin’s Riddle is the first book in a Young Adult fantasy trilogy about the gift of creativity and where it can take you.

Nicoll's History, which tells the story of English drama from the reopening of the theatres at the time of the Restoration right through to the end of the Victorian period, was viewed by Notes and Queries (1952) as 'a great work of exploration, a detailed guide to the untrodden acres of our dramatic history, hitherto largely ignored as barren and devoid of interest'.

Nicoll's History, which tells the story of English drama from the reopening of the theatres at the time of the Restoration right through to the end of the Victorian period, was viewed by Notes and Queries (1952) as 'a great work of exploration, a detailed guide to the untrodden acres of our dramatic history, hitherto largely ignored as barren and devoid of interest'.