Sisters squabble. Queens go to war. Ten summers ago, victory brought peace and prosperity to Southern Ériu. Danu and Brighid were celebrated as heroes and saviours. The queens scaled the heights, and there was only one way to go. One twin became overbearing, the other resentful. Pride dug a pit filled with blackthorns between them. They became tyrants, and the kingdom was sundered. The people were left bitter, divided and afraid, and the lush farmlands fell barren. Stripped of their powers, the Dog Roses were no more. Each blamed the other, and neither took responsibility. Angry parents gave the twins’ brothers an army and tasked them to bring law to the kingdom. An embittered veteran and a beautiful assassin accompany them. Whose gold is in the assassin’s pouch, and what are her orders? In the Halls of the Aes Sídhe, Draighean is chastised and commanded to return to her wards. “Guide them, support them, or kill them. Just finish what you started.” An evil philosophy grows, and another army gathers. Can the sisters be reconciled? The people need the Dog Roses, but can they forgive them? Yet, do Danu and Brighid want the responsibility? Do they want their powers returned? Being normal is very tempting. The Dog Roses: Resolution is the sequel to The Dog Roses. Content warning: The Dog Roses: Resolution contains scenes of sex, violence, and language appropriate to the historical period (400 B.C.) and locations in which the story is set. It is not recommended for those under 14 without parental consent.

When midnight strikes… The last thing temp agency owner Ian Cumberland expects on an icy New Year's Eve is a little magic. But when a stunner of a woman plants a sizzlin' kiss on him in the middle of Times Square, Ian's world explodes. A moment later, she's gone…. But as much as Ian shakes Rose Hildebrande to the tips of her designer shoes—and a few other choice places!—she can't afford to fall for a charming pauper instead of Prince Charming. Still…there's something about Ian, his sexy good looks, his charming kindness, that inspires Rose to find him and seduce him. But will their naughty fling still be blazing come summer?

"You have no weapons, striapach." "I am the weapon, tuilí." It is 400 B.C. The mist clears, and three triremes glide into the calm waters of the bay in Southern Ériu. On a grass-topped dune, a young girl dances gleefully at the Goddess's gift. The warrior princesses, Brighid and Danu, leap over the vessels' sides into the cold waters and look north towards their ancestral home—the fort of Ráth Na Conall. The clash of weapons is not a good omen. From his throne in Caher Conri, the depraved Uallachán rages at the sight of the red shield embellished with a swooping black raven and the memories it provokes. He swears vengeance on the daughters of his old adversary. Draighean, a demi-goddess of the mystical Aes Sídhe, stands alone on the mountain peak. She bites full maroon lips, unhappy at her mission. Yet, does she have a choice? Evil must be confronted and defeated. Uallachán's idea of peace is to crush all dissent, but is he no more than a puppet of the powerful kings of the Connachta? The twins know they must defeat the invasion and stop the enslavement of their people. Still, even with the help of Draighean, the odds are daunting. The Dog Roses contains scenes of sex and violence and uses language appropriate to the period in which it is set, i.e., 400 B.C. It is not recommended for those under 14 without parental consent.

A practical guide to using flowers in magical practice • Provides detailed instruction on every stage of the harvesting, crafting, and practical use of flower magic potions, including a comprehensive herbarium of all the flowers that may be used • Discusses what type of flower and form of flower magic is best for specific enchantments and rituals in the areas of love and sex magic, healing and focusing, and protection • Looks at the physical and spiritual gifts of bees and the importance of bee culture in Druidic flower magic Flowers are found in magic traditions around the world, from those in ancient Egypt, China, and India to the traditions of the Norse and Native Americans. Yet many of today’s well-established flower traditions—like bridal bouquets—originated in the Druidic magical lore of Wales, Ireland, and Scotland. As fifth-generation Druid Jon G. Hughes explains, flowers hold a preeminent position in Druidic folk magic with their own special branch of magical workings. In this practical guide, Hughes details how to use flowers in magical practice, focusing on flowering plants with a long history of magical use going back to Druidic times yet many of which are commonly found throughout the world, such as buttercup, blackberry, and dog rose. He discusses what type of flower and form of flower magic is best for specific enchantments and rituals in the areas of love and sex magic, well-being and good fortune, and protection. He looks at the magical use of fresh flowers and provides detailed instruction on every stage of the harvesting, crafting, and practical use of flower magic potions, including a comprehensive herbarium of all the flowers that may be used. Examining the complex relationship between flowers and bees, the author looks at the physical and spiritual gifts of bees, such as honey, propolis, and beeswax, and the importance of bee culture in Druidic flower magic, including the tradition of the honeymoon, the significance of the hexagon, and medieval beekeeper lore. Inviting you into the gentle yet powerful realm of Druidic flower magic, the author also details how to plan, plant, and take care of your own magical flower garden with all the botanicals you will need to pursue the path of flower magic.

Molly and Kitty, or Peasant Life in Ireland; with Other Tales, edited by Maria Burg and Olga Eschenbach, presents a fascinating compendium of narratives that delve deep into the rustic tapestry of Irish life, interweaving tales that span a spectrum of emotions and experiences. The collection stands as a testament to the richness of Irish storytelling tradition, encompassing a range of literary styles from the poignant and evocative to the humorously irreverent. Through its varied tales, the anthology distinctively captures the essence of Irish cultural and rural identity, shedding light on the complexities of peasant life with an authentic voice that resonates with both grit and grace. The editors have meticulously curated a selection that underscores the evocative power of storytelling in shaping and reflecting collective memory and cultural narratives. The contributing authors, under the editorial guidance of Maria Burg and Olga Eschenbach, hail from diverse backgrounds, each bringing a unique perspective to the overarching theme of the collection. Their collective works resonate with the historical and cultural milieu of Ireland, exploring themes of resilience, community, and the enduring human spirit in the face of adversity. By converging different literary movements and cultural viewpoints, this anthology offers a multifaceted exploration of the Irish condition, aligning historical realities with the transformative power of narrative. Molly and Kitty, or Peasant Life in Ireland; with Other Tales, invites readers into a world where the rich tapestry of life is unveiled through the power of storytelling. This anthology is a must-read for those who wish to immerse themselves in the diverse narratives of Irish peasant life, offering a unique opportunity to explore a broad spectrum of human experiences. Beyond its educational value, the collection serves as a rich cultural repository, fostering a deeper appreciation of the intricacies of Irish heritage and the universal themes of resilience and community that echo throughout its pages.

Roger the Chapman is not a superstitious man. He hears stories of murders and haunted houses around the market town of Bristol, and chooses to believe the more prosaic explanation every time. But when Roger is attacked in the very house where a woman murdered her violent husband thirty years previously, he is forced to admit that something strange is going on . . .