Tragedy and humiliation made Mercy Price a forgotten wallflower. Fate will grant her vengeance – and true love. A full-length sweet romance about cold revenge, thawing hearts, and the redeeming power of love. After losing her mother and most of her hearing to fever, Mercy Price slips into obscurity inside her own family. When a band of noble second sons called the Four Horsemen publicly humiliate Mercy, her dreadful stepmother’s ensuing campaign of terror forges Mercy into a survivor bent on revenge. Mercy’s opportunity for retribution arrives with one astonishing catch. The author of the revenge plan is the terribly handsome August Wycliff – one of her former tormentors now living under an alias. A man who supposedly died on the battlefields of Spain. Certain Wycliff doesn’t remember her, Mercy dives into his madcap plan to present her as a foreign noblewoman at the Horsemen’s grand house party, have her win the ardor of each, and then take their precious tokens of brotherhood before rejecting them. Little does Wycliff know, Mercy plans to humble him as well. To do so, she must slip behind his defenses and uncover evidence of wrongdoing with which she might destroy him. Why he desires vengeance against his former friends remains a mystery to Mercy, as does another inconvenient fact – Wycliff has recognized Mercy from the start. Astonished by Mercy’s transformation, he tries to dismiss his mounting fascination with her by considering Mercy no more than a tool of vengeance against the Horsemen for their cold betrayal on the day of his supposed death. Wrapped in swirling secrets and immersed in fractious banter, Mercy and Wycliff work together to carry out the complex ruse. However, a powerful and growing mutual attraction leads each to regret what they might sacrifice for the sake of vengeance – including a future that includes friendship, love, and… perhaps even each other.

'War Cinema' presents an introduction to and overview of films that take war as their main theme. Framing the era with 'Apocalypse Now' and 'Apocalypse Now Redux', the author initially focuses on Vietnam on film in the 1970s and 1980s and how this divisive war was represented.

One for the Wallflowers is Li'l My'sÊdubut collection of poetry written for Spoken Word performance. IncludingÊillustations by the author, the collectionÊhighlights what it's like to be an outsider.ÊBullied at school, coming out as gayÊand facing mental health difficulties, ÊOne for the Wallflowers reflects Li'l My'sÊown experiences and tells the story ofÊ "the kids who were left behind".

A rags-to-riches, forbidden love, opposites attract romance from a New York Times bestselling author: Oliver York returns from war to find his father dead, his finances in arrears, and himself the new Earl of Carlisle. If he doesn't marry an heiress-and fast!-he and his tenants are going to be pitching tents down by the Thames. He definitely shouldn't be trading kisses with a penniless debutante... no matter how captivating she is! Miss Grace Halton is in England just long enough to satisfy the terms of her dowry. But a marriage of convenience isn't as easy as she'd hoped. Back in America, her ailing mother needs medicine only Grace's dowry can afford. Which means the dashing earl she can't get out of her mind is the one man she can't let into her heart. The fan-favorite Dukes of War series features roguish peers and dashing war heroes who return from battle only to be thrust into the splendor and madness of Regency England.

Fresh from school in June 1916, Lieutenant Oliver Paxton's first solo flight is to lead a formation of biplanes across the Channel to join Hornet Squadron in France. Five days later, he crash-lands at his destination, having lost his map, his ballast and every single plane in his charge. To his C.O. he's an idiot, to everyone else--especially the tormenting Australian who shares his billet--a pompous bastard. This is 1916, the year of the Somme, giving Paxton precious little time to grow from innocent to veteran.

The Wallflower Avant-Garde argues for the importance of a strain of modernist formalism based in ekphrasis, the literary imitation of the visual arts. Often associated with a conservative aesthetic of wholeness, permanence, and autonomy, ekphrastic writing also involves excess, failure, and mimesis, conjuring an aesthetic sense of closure and unity out of impossible imitations. This choreography of imitation and autonomy resonates with many of the foundational insights of queer theory: the way it situates identity as an effect of performativity, artifice, and mimesis. Unlike many queer theorists, however, this book insists that we value both the imitations and the aspirations that guide them, underlining not only the illusoriness of identity but also its allure. This more capacious formalism allows aspects of modernists aesthetic that have seemed regressive or repressive to be read as generative forms of stasis, quiet, reserve, shyness, and so on.

This volume of collected papers takes stock of what has become known about the war in eastern Ukraine’s Donets Basin (Donbas) between April 2014 and mid-2020. It provides an introduction to the conflict and illustrates the key point of contention in the academic debate surrounding it—the question whether this war is primarily an internal Ukrainian phenomenon or the result of a covert Russian invasion. The contributions by recognized specialists from Ukraine, Russia, Germany, and Japan offer multifaceted views and insights into this long-lasting conflict for both expert readers and those who are new to the topic. The volume’s contributors are Tymofii Brik, Jakob Hauter, Sanshiro Hosaka, Yuriy Matsiyevsky, Nikolay Mitrokhin, Maximilian Kranich, and Ulrich Schneckener.