An epic love story set in poetry...or poetry set in a love story...indistinguishable

The Essex coast in 1803. War looms and Rose is wrongfully separated from her true love, Garrad. Against all odds, she sets out across oceans to find him.

Richard Chandos, age 22, witnesses a murder and acquires a dog and collar containing details of a treasure. Mainly set in Carinthia, Austria at the castle of Wagensburg, a search ensures for the Treasure of Wagensburg hidden in the great well.

A deadly conspiracy. A race against time. When Jake Crowley rescues Rose Black from assailants on the streets of London, the two find themselves embroiled in a mystery that could cost them their lives. People are dying, and all the victims have one thing in common with Rose: a birthmark in the shape of an eagle. From beneath the streets of London, to castle dungeons, to the heart of Christendom and beyond, Jake and Rose must race to stay alive as they seek to unlock the secrets of the Blood Codex. Praise for David Wood and Alan Baxter “Blood Codex is a genuine up all night got to see what happens next thriller that grabs you from the first page and doesn't let go until the last.” Steven Savile “Rip roaring action from start to finish. Wit and humor throughout. Just one question - how soon until the next one? Because I can't wait.” Graham Brown “A page-turning yarn. Indiana Jones better watch his back!”Jeremy Robinson “A a story that thrills and makes one think beyond the boundaries of mere fiction and enter the world of 'why not'?” David Lynn Golemon, “A twisty tale of adventure and intrigue that never lets up and never lets go!” Robert Masello “A fast-paced storyline that holds the reader right from the start,. and a no-nonsense story-telling approach that lets the unfolding action speak for itself.” Van Ikin “With mysterious rituals, macabre rites and superb supernatural action scenes, Wood and Baxter deliver a fast-paced horror thriller.” J.F.Penn “Wood and Baxter have taken on the classic black magic/cult conspiracy subgenre, chucked in a toxic mix of weirdness, creepshow chills and action, and created a tale that reads like a latter-day Hammer Horror thriller. Nice, dark fun.” Robert Hood

American writer Edith Wharton (1862-1937) once wrote in Harper's that she wanted to "penetrate ... the carefully guarded interior[s]" of her past memories and fashion them "into a little memorial like the boxes formed of exotic shells which sailors used to fabricate between voyages." For Totten (English, North Dakota State U.) this statement is a striking reminder of the connections between material objects and cultural meanings in Wharton's life and work. He presents 11 essays that explore these connections in a variety of ways. Topics include critical linkages of Wharton to materiality as a means to keep her outside the canonical, resistance to commodification in The House of Mirth, the creation of the disposable object and Wharton's characters' fears of their disposability, Wharton's ideas about the use of museum space in The Age of Innocence, and the effect of technology on domestic space in The Fruit of the Tree.