HE WASN’T HERS TO LOVE … BUT HER HEART DOESN’T CARE… When Isla Evans agrees to switch lives with her rising star of a twin for three weeks, she has no idea the move will thrust her into the same bed as her teenage celebrity heartthrob, Bradley King. Trapped there at her sister’s request, she gives her desire free reign and finds herself falling hard and fast. And she’s not alone. Bradley wants a wife to tick all the boxes, save for one: love. It’s not part of the deal, never was, never will be. But when he returns home early to find his hopeful-fiancée behaving all sorts of different, he likes it. A lot. Suddenly, he wants a real marriage, with all the trimmings, and he will stop at nothing until he gets it. But this Hollywood HEA faces one big hurdle—she’s not who he thinks she is…

Roxanne Callahan has always been her younger sister's caretaker. Now married, her happiness is threatened when beautiful and emotionally unstable Simone, suffering from crippling postpartum depression, commits an unforgivable crime for which Roxanne comes to believe she is partially responsible. In the glare of national media attention brought on her sister, Roxanne fights to hold her marriage together as she is drawn back into the pain of her troubled past and relives the fraught relationship she and Simone shared with their narcissistic mother. At the same time, only she can help Simone's nine year old daughter, Merell, make sense of the family's tragedy. Cathartic, lyrical, and unflinchingly honest, The Good Sister is a novel of four generations of women struggling to overcome a legacy of violence, lies and secrecy, ultimately finding strength and courage in their love for each other.

THE INSTANT NEW YORK TIMES BESTSELLER A stunningly clever thriller made doubly suspenseful by not one, but two unreliable narrators.--People Sally Hepworth, the author of The Mother-In-Law delivers a knock-out of a novel about the lies that bind two sisters in The Good Sister. There's only been one time that Rose couldn't stop me from doing the wrong thing and that was a mistake that will haunt me for the rest of my life. Fern Castle works in her local library. She has dinner with her twin sister Rose three nights a week. And she avoids crowds, bright lights, and loud noises as much as possible. Fern has a carefully structured life and disrupting her routine can be...dangerous. When Rose discovers that she cannot get pregnant, Fern sees her chance to pay her sister back for everything Rose has done for her. Fern can have a baby for Rose. She just needs to find a father. Simple. Fern's mission will shake the foundations of the life she has carefully built for herself and stir up dark secrets from the past, in this quirky, rich, and shocking story of what families keep hidden.

A reader’s guide to the morphology and syntax of Koine Greek From the pen of a seasoned instructor of biblical Greek, this book functions as both an essential resource for second-year students and an invaluable asset for all readers as they continue to hone and deepen their linguistic skills. It begins with a basic overview of the language for new learners and for those looking for a brief refresher before moving into nuanced matters of morphology and syntax. Whitacre’s aim is ultimately to help readers understand the subtleties of the language on the pages of the New Testament; thus, he engages with the biblical text both grammatically and exegetically, so that readers can experience its full power and beauty. Including numerous illustrative examples throughout and several useful appendices at the end, A Grammar of New Testament Greek is indispensable both as a textbook and as a reference for all readers of the Greek New Testament—and other texts written in Koine, such as the Septuagint and the Apostolic Fathers.

In National Performance, Erin Hurley examines the complex relationship between performance and national identity. How do theatrical performances represent the nation in which they were created? How is Quebecois performance used to define Quebec as a nation and to cultivate a sense of 'Quebec-ness' for audiences both within and outside the province? In exploring Expo 67, the critical response to Michel Tremblay's Les Belles Soeurs, Carbone 14's image-theatre, Marco Micone's writing practices, Celine Dion's popular music, and feminist performance of the 1970s and 80s, Hurley reveals the ways in which certain performances come to be understood as 'national' while others are relegated to sub-national or outsider status. Each chapter focuses on a particular historical moment in Quebec's modern history and a genre of performance emblematic of the moment, and uses these to elaborate the nature of the national performances. Winner of the Northeast Modern Language Association's Book Prize, National Performance is sophisticated yet accessible, seeking to enlarge the parameters of what counts as 'Quebecois' performance, while providing a thorough introduction to changing discourses of nation-ness in Quebec.