Passion ignites between an intense warrior and a disgraced beauty in USA Today bestselling author Sandra Hill’s The Tarnished Lady. Banished from polite society for bearing a child out of wedlock, Lady Eadyth of Hawks’ Lair spends her days hidden under a voluminous veil, tending her bees. But when her son’s detested father threatens to reveal the boy’s true paternity and seize her beloved lands, Lady Eadyth seeks a husband willing to claim the child as his own. Eirik of Ravenshire is England’s most virile bachelor, notorious for loving—and leaving—the most beautiful damsels in the land. Now a mysterious lady is offering him a vow of chaste matrimony in exchange for revenge against his most hated enemy, and Eirik simply cannot refuse. But the lusty knight’s plans go awry when he finds himself unable to resist Eadyth’s myriad charms . . . and he succumbs to the sweet sting of the tarnished lady’s love. “Sandra Hill writes stories that tickle the funnybone and touch the heart. Her books are always fresh, romantic, inventive, and hilarious.” —New York Times bestselling author Susan Wiggs “Sandra Hill always delivers smart, sexy, laugh-out-loud action.” —New York Times bestselling author Christine Feehan Viking I The Relucatant Viking The Outlaw Viking The Tarnished Lady The Bewitched Viking The Blue Viking The Viking’s Captive A Tale of Two Vikings Viking in Love The Viking Takes a Knight The Norse King’s Daughter The Pirate Bride

“Eloquently spoken words on the subject of love must surely linger forever in a lady’s mind.” FEATURING Every Appearance of Composure, Expecting His Wife, Pride and Sensuality, and Wait for Love. Check your library! If one or more of these delightful Pride and Prejudice variations is not there, add Forever, for Always, for Love to your collection today, and settle in for a sensational succession of romantic escapes. You're sure to fall in love with Darcy and Elizabeth all over again. About Eden Forster's Every Appearance of Composure Lady Catherine learns that Mr. Bingley is engaged to marry Miss Jane Bennet. She insists that her favorite nephew, Mr. Darcy, must follow his friend’s example and marry as well. Her ladyship means to carry her point, and she will go to any length—especially when she starts to suspect there’s a mystery woman in Darcy’s life. Will Darcy accept his aunt’s dictate, or will the gentleman follow his heart? Every Appearance of Composure can be read and enjoyed as a standalone story. About Expecting His Wife What happens when Elizabeth’s Hertfordshire relations and Mr. Darcy’s aristocratic relations come face to face? Is the couple’s abiding love enough to ensure their path to happily ever after, or will a mishap or two get in their way? Expecting His Wife can be read and enjoyed as a standalone story. About Pride and Sensuality With his mind agreeably engaged on the pleasures that await him once he and his dearest, loveliest Elizabeth are man and wife, Darcy's patience wanes, and he begins to wonder if he will ever find time alone with his betrothed. Elizabeth is not oblivious of the discomfort Darcy must surely suffer. Not only does she have the key to his heart; she knows how to use it. About Wait for Love The short story setting is Hunsford on the night of Mr. Darcy’s proposal. Imagine if Darcy offers his hand in a more gentleman-like manner. Imagine if Elizabeth is more attracted to Mr. Darcy than she cares to let on—that is before she learns about his part in separating her sister and his friend. Will he stand a chance of winning Elizabeth’s heart? § Short story length is 6500 words—perfect for those times when what you really want is a quick romantic escape! Wait for Love has a Mature Themes

The first major Katharine Hepburn biography independent of her control reveals the smart, complicated, and sophisticated woman behind the image Onscreen she played society girls, Spencer Tracy's sidekick, lionesses in winter. But the best character Katharine Hepburn ever created was Katharine Hepburn: a Connecticut Yankee, outspoken and elegant, she wore pants whatever the occasion and bristled at Hollywood glitter. So captivating was her image that she never seemed less than authentic. But how well did we know her, really? Was there a woman behind the image who was more human, more driven, and ultimately more triumphant because of her vulnerability? William J. Mann--a cultural historian and journalist, a sympathetic admirer but no mere fan--has fashioned an intimate, often revisionist, and truly unique close-up that challenges much of what we think we know about the Great Kate. Previous biographies--mostly products of friends and fans--have recycled the stories she hid behind, taking Hollywood myths at face value. Mann goes deeper, delivering new details from friends and family who have not been previously interviewed and drawing on materials only available since Hepburn's death. With affection, intelligence, and a voluminous knowledge of Hollywood history, Mann shows us how a woman originally considered too special and controversial for fame learned the fine arts of movie stardom and transformed herself into an icon as durable and all-American as the Statue of Liberty.

Born into an upper-crust family in New Orleans, Cora Bell Witherspoon (1890-1957) was an orphan by the age of 10 and a professional actress by 15. She was seen on Broadway from 1910 till 1946 in 36 productions and was a popular character actress in Hollywood between 1931 and 1954. On stage she played roles like Sallie McBride in Daddy Long Legs, Josephine Trent in The Awful Truth, Martha Culver in The Constant Wife, Prudence in Camille, and Mrs. Grant in The Front Page. Like many Hollywood supporting players, her screen time was limited. She made the most of it, whether as W.C. Fields's shrewish wife in The Bank Dick, Bette Davis's fair weather friend Carrie in Dark Victory, the earthy, amorous maid Patty in Quality Street, or the overbearing dowager Mrs. Williamson in The Mating Season. On both stage and screen, Witherspoon portrayed a range of stereotypes of older women. In the end, though, she created her own type, incarnating the fashionable, frivolous, flighty, and fawning society woman, often with a thinly veiled libidinous quality. In addition to a detailed account of Witherspoon's theater and film career, this groundbreaking biography reveals her upbringing and family background and discusses her struggle with substance abuse, which resulted in two highly publicized arrests and one conviction.

Thomas Edison invented his motion picture system in New Jersey in the 1890s, and within a few years most American filmmakers could be found within a mile or two of the Hudson River. They planted themselves here because they needed the artistic and entrepreneurial energy that D. W. Griffith realized New York had in abundance. But as the going rate for land and labor skyrocketed and their business grew more industrialized, most of them moved out. The way most historians explain it, the role of New York in the development of American film ends here. In Hollywood on the Hudson, Richard Koszarski rewrites an important part of the history of American cinema. During the 1920s and 1930s, film industry executives had centralized the mass production of feature pictures in a series of gigantic film factories scattered across Southern California, while maintaining New York as the economic and administrative center. But as Koszarski reveals, many writers, producers, and directors also continued to work here, especially if their independent vision was too big for the Hollywood production line. East Coast filmmakers-Oscar Micheaux, Rudolph Valentino, Ben Hecht, Charles MacArthur, Paul Robeson, Gloria Swanson, Max Fleischer, and others-quietly created a studio system without back-lots, long-term contracts or seasonal production slates. They substituted "newsreel photography" for Hollywood glamour, targeted niche audiences instead of middle-American families, ignored accepted dramatic conventions, and pushed the boundaries of motion picture censorship. Rebellious and unconventional, they saw the New York studios as laboratories, not factories-and used them to pioneer the development of new technologies (from talkies to television), new genres, new talent, and ultimately, an entirely new vision of commercial cinema.

"The entire field of film historians awaits the AFI volumes with eagerness."--Eileen Bowser, Museum of Modern Art Film Department Comments on previous volumes: "The source of last resort for finding socially valuable . . . films that received such scant attention that they seem 'lost' until discovered in the AFI Catalog."--Thomas Cripps "Endlessly absorbing as an excursion into cultural history and national memory."--Arthur Schlesinger, Jr.

Hollywood in Crisis is a detailed study of the workings of the American film industry during the 1930s. Colin Schindler, looking at Hollywood as an agent of Roosevelt's New Deal and the attempts made by film moguls and movie makers to withstand the political turmoil that threatened to engulf America. Schindler illustrates how the studios and their products, from the glamour of MGM stars and escapist musicals to gangster movies and Westerns, even to the 'radical' films of the Warner studios, helped foster ideas of social unity and patriotism.

A portrait of the trailblazing film producer whose career spanned five decades."Bernstein packs an astonishing amount of solid film history into his lucid chronicle of Wangers whirlwind corporate liaisons. ... A fully realized, A-line biopic of a fascinating life in the movies."Tom Doherty, Film Quarterly.

The various essays in this volume, all written by prominent experts in the field, offer critical discussions of every feature film Cukor directed and include a rich trove of valuable information about their production histories.