Her simple friendship helps pull him out of grief. But he doesn’t know she’s a movie star—and she knows he can’t expose his family to the spotlight of fame. Single father and widower Ryan Howard has zero interest in the movie being filmed in Pine Harbour or the high maintenance stars staying in the cottages at the end of his lane. He's just barely holding on to the raw remains of his life and the fantasy world being concocted around him is, as far as he's concerned, a complete waste of time and energy. The one bright light in his life is an intern on the set, and their quiet conversations at the end of the day on his back porch. Hope Creswell hates her life, too, which is entirely unfair because she’s blessed beyond measure. She’s at the top of her acting career, a Hollywood A-list star, and surrounded by people that mean well. But Ryan makes her laugh, and cry, and before she can explain her double life, he kisses her. Book 3 in the Pine Harbour series of standalone small town military romances.

It's spring in Sugar Maple, and love is in bloom! As the Spring Festival kicks off at Oakleaf Manor, Connor Wright is putting everything on the line to invest in his new business as a glassblower. He hopes the spring festival will be just what he needs to unveil his artwork to the world, but when he runs into his former best friend and her fiancé at the festival, Connor can't help but wonder if the greatest risk he's taking is falling in love with her once more. When Violet Bingham agreed to host her father's florist booth at the festival, she never imagined she'd end up assigned to a booth across the aisle from her childhood friend, Connor. To make matters worse, her fiancé Todd has always been jealous of their friendship, and he's determined it won't be reignited by their close proximity. But when Violet comes up with an inspired project to help establish Connor's business, she's faced with either risking her relationship with Todd or watching all Connor's dreams shatter. As Connor and Violet reignite their old friendship, they begin to wonder why it ever came to an end. Violet is sure between Connor's talent with glasswork and her flair for floral arrangements, they can salvage the remnants of his fledgling enterprise along with the friendship they once had. But as Connor struggles to save his new venture, and Violet faces an ultimatum from Todd, can the two of them find a way to reconcile their history together? Or better yet, to learn from it and let their love for each other bloom? Journey down winding country roads, explore quaint cozy shops, and encounter quirky, but caring neighbors in the heartwarming hometown romances of Sugar Maple, Tennessee, and fall in love with the old friendships, new beginnings, and true love that never dies in Love at the Spring Festival today!

Falling in love with Celeste, princess of Springwood, Roel finally has a chance at true happiness, until his sister is abducted by a horrific lord with the power to steal the souls he has taken, forcing Roel and his beloved to embark on a desperate odyssey to save his sister before the dark of the moon. Reprint.

Named a New York Times Notable Book Winner of the PEN/Book-of-the-Month Club Translation Prize Winner of the Anne Frank Prize These shattering stories describe the lives of ordinary people as they are compelled to do the unimaginable: a couple who must decide what to do with their five-year-old daughter as the Gestapo come to march them out of town; a wife whose safety depends on her acquiescence in her husband's love affair; a girl who must pay a grim price for an Aryan identity card.

From the Man Booker Prize Finalist comes the third novel in her Seasonal Quartet—a New York Times Notable Book and longlisted for the Orwell Prize for Political Fiction 2020 What unites Katherine Mansfield, Charlie Chaplin, Shakespeare, Rilke, Beethoven, Brexit, the present, the past, the north, the south, the east, the west, a man mourning lost times, a woman trapped in modern times? Spring. The great connective. With an eye to the migrancy of story over time and riffing on Pericles, one of Shakespeare's most resistant and rollicking works, Ali Smith tell the impossible tale of an impossible time. In a time of walls and lockdown, Smith opens the door. The time we're living in is changing nature. Will it change the nature of story? Hope springs eternal.

This carefully crafted Edition of the timeless classic and best-selling book of poetry certainly is time well spent! It was first published in 1924, and was beautifully illustrated by Ernest Howard Shepard. 8.5x11'' Matte Cover Can be used as a coloring book

This is the first comprehensive study of Herder's preoccupation with the Song of Songs, Baildam considers the importance of this poetry in his thinking, and examines his commentaries and translations of 1776 and 1778. Despite Herder's claims to the contrary, his own cultural position is revealed in his translations, and in his unique interpretation of the work as the voice of pure, paradisal love. Starting with Herder's interest in the Song of Songs between 1765 and 1778, this book sets his reflections in the wider context of his relativistic views on the nature of poetry, contemporary German culture, and the importance of primitive poetry in general and the poetry of the Bible in particular. Then Baildam looks at current literary critical theories with implications for Herder's translations of these 'Lieder der Liebe', and discusses Herder's theories of language and translation in comparison with German translation theories. Herder's reading of the Song as the most primitive, natural and sublime example of Hebrew poetry is placed in the context of earlier and contemporary interpretations, his opinion of which is examined. In the last part of the book, there is an appraisal first of Herder's commentaries themselves, analysing how the details reflect his overall concept of the work, and then of his translations, comparing them with each other, with the Lutheran text to which Herder ultimately directed his readership, and with the Hebrew text. A concluding chapter reviews the reception of Herder's work, and three appendices offer a parallel presentation of Herder's translations of 1776 and 1778, Luther's translation of 1545, and Goethe's translation of 1775.