Catrina Pearson accepts an invitation from her estranged maternal grandmother in hopes of learning the identity and truth about the father she never knew and why her mother took that secret to her grave. As a photographer who's travelled the world, Catrina is ready to face any challenges the rugged Utah landscape may throw at her, but she's not prepared to handle the reclusive cowboy who ropes her heart. Betrayed by his heritage and family, Clifford White Fox is determined to purchase the acreage surrounding his ranch and build a private world safe from judgment and emotional intrusion. His lifestyle and hard-won serenity are threatened when he stumbles across a naked woman sunbathing on the last parcel of land he needs to acquire

In this light-hearted novella, Cowboy Quigley, a quixotic roughneck steeped in the mythology of Texas, endeavors to redeem the mediocrity of his life and of the modern world at-large by liberating Mexico from an imaginary arch-villain. Inspired by a comical but recognizably American idealism, Cowboy wills his preconceived notions onto a world that - much to the embarrassment of his reluctant sidekick, Chucho - rarely conforms itself to his delusions. Cowboy had always hoped that when history called on him, he would acquit himself well and take his place in the pantheon of Texas heroes. But Cowboy's crusade soon draws the attention of certain unsavory characters who are not inclined to let a swaggering gringo make himself a "hero" at their expense.

Even the coldest cowboy’s heart can be ignited in this slow-burn M/M cowboy romance. J-Bar ranch foreman Malloy pretty much keeps to himself—slinking around the edges of everybody else like an old coyote, doing his job and staying private. That is until Crispin Carrasco shows up. Lean, muscular, and with a motor mouth that won’t quit, Crispin sparks something in Malloy—something the foreman didn’t know was there. But how does a lone coyote approach the warmth of a fire? And more important, what would happen if that fire burned? A sweet and heartwarming read with a guaranteed HEA. “Z.A. Maxfield has a lyrical way of writing that makes it easy to escape into the world that she creates for her characters.”—Night Owl Reviews

Offers twenty-four essays about African American men and women who worked in the Texas cattle industry from the slave days of the mid-19th century through the early 20th century.

Six months ago, Thor, the former Norse God of Thunder – along with the motley crew of political clones and cyborgs and psychic squirrels he calls his friends – saved the world. And, in a wholly unprecedented move, this time the world stayed saved. The frozen head of Walt Sidney is not happy about that. Like, at all. The bodiless businessman has pit his two top men against each other and sent them after the group, in a contest to see who can out-murder who. Because vengeance is a dish best served lukewarm and out of a can, heated over the smoldering remains of your enemies. Also, vengeance should be eaten with an officially-licensed Lindsey Louse Spearin’ Spork for maximum vengeance-ing. The fourth book in the EXPONENTIAL APOCALYPSE series, REVENGE-ARONI is smart, vulgar, and quite simply and with absolutely zero hyperbole, the single best post-apocalyptic book about borderline inept, mercenary heroes you will ever read. Filled with gallows humor and inventive swearing and run-on sentences, as well as sex, drugs, violence, and blatant attacks on artisanal coffee, REVENGE-ARONI will surely be looked back on as the piece of literature that saved humanity from both itself and the inevitable uprising of homicidal crab-people.

Love scenes wearing movie costumes-a hot romance with a playlist! Ex-cop Catrina Turner is lonely. After a traumatic recovery dive she quit the force and ran away to remote Muskoka with Titan, her retired police dog. They provide winter security for luxury lake houses owned by rich celebrities. Her PTSD, a closely-held secret, makes a relationship impossible...until a handsome visitor makes a tempting proposal. Screenwriter Chett de Groot needs a hit to save his career. He accepts a film star's offer to use her secluded lake house as a winter writing retreat, and discovers a closet full of her old movie costumes. Bored, freezing in Muskoka and desperate for inspiration, Chett entices the beautiful security guard to wear costumes and role-play in seduction scenes. They discover how satisfying acting can be. Soon Catrina is ad-libbing passionate lines in scorching "e;performances"e; that knock Chett's thermal socks off. A film producer makes Chett an offer that will put him back in the game. But if Catrina finds out what Chett did to close the deal, will he lose her forever? Catrina's path to love and healing is Book 2 in the Hollywood in Muskoka series. This curl-your-toes romance can be read as a stand-alone short novel.

Recipient of three National Endowment for the Arts grants and with works exhibited at the prestigious Biennale de Paris, New York’s Whitney Museum, the de Menil Collection in Houston, and other venues, Bob “Daddy-O” Wade started “keeping it weird” in 1961 when he arrived in Austin with his ’51 custom Ford hot rod and his slicked-back hair. Primed to study art at the University of Texas, Wade’s coif and dragster earned him his trademark moniker, and the abstract, welded sculptures he fashioned from automobile bumpers in his frat house basement laid the foundations for the distinctive, larger-than-life art pieces that would eventually make him famous. Daddy-O is the creator of the forty-foot iguana that perched atop the Lone Star Café in New York City, the immense cowboy boots (entered in the Guinness Book of World Records) outside San Antonio’s North Star Mall, and Dinosaur Bob, who graces the roof of the National Center for Children’s Illustrated Literature in Abilene, Texas. He is widely recognized as one of the progenitors of the “Cosmic Cowboy Culture” that emerged in Texas during the 1970s. Daddy-O’s Book of Big-Ass Art features images of more than a hundred of Wade’s most famous pieces, complete with the wild tales that lie behind the art, told in brief essays by both Wade and more than forty noted artists and writers familiar with Wade’s work.

Lyla, a talented violinist, sees her big break in the music industry on the horizon. In order to follow her dreams, and the dream man who will help her find them, she must move to California and leave behind her life in Colorado. Now she must choose between her life, her friends, and her hero in Colorado, and the possibilities of fame and love in California, reembering to trust in God to guide her through it all.

"Be prepared to learn a lot about the culture while you follow Amanda on her adventure.”—Laura Best, author, Bitter, Sweet “What a great way for a young person to learn about a culture and to be inspired to experience other countries themselves."—Irene Butler, author, Trekking the Globe with Mostly Gentle Footsteps Amanda Ross is on a school trip to Taos, New Mexico with several of her fellow creative students. She shares a room with Cleo, an anxious classmate who insists she sees ghosts. Although Amanda is determined to prove there is no such thing, she can’t seem to shake the feeling that something or someone is watching her. Join Amanda, Cleo and their funny friend, Caleb, as they visit a rugged and beautiful landscape where a traditional hacienda, an ancient pueblo, and a haunted and spooky hotel all hold secrets to a wild and violent past. Does Cleo really see ghosts? Can Amanda escape the eerie wind that follows her everywhere? Perhaps The Day of the Dead will reveal the mysteries of Taos in this latest adventure of Amanda’s travels. Be sure to read all the books in this exciting Amanda Travels series! 1. Amanda in Arabia: The Perfume Flask 2. Amanda in Spain: The Girl in the Painting 3. Amanda in England: The Missing Novel 4. Amanda in Alberta: The Writing on the Stone 5. Amanda on the Danube: The Sounds of Music 6. Amanda in New Mexico: Ghosts in the Wind 7. Amanda in Holland: Missing in Action 8. Amanda in Malta: The Sleeping Lady

This volume initiates a gender-based framework for analyzing the folk art of Latin America and the Caribbean. Defined here broadly as the "art of the people" and as having a primarily decorative, rather than utilitarian, purpose, folk art is not solely the province of women, but folk art by women in Latin America has received little sustained attention. Crafting Gender begins to redress this gap in scholarship. From a feminist perspective, the contributors examine not only twentieth-century and contemporary art by women, but also its production, distribution, and consumption. Exploring the roles of women as artists and consumers in specific cultural contexts, they look at a range of artistic forms across Latin America, including Panamanian molas (blouses), Andean weavings, Mexican ceramics, and Mayan hipiles (dresses). Art historians, anthropologists, and sociologists from Latin America, the Caribbean, and the United States discuss artwork from Mexico, Argentina, Chile, Colombia, Ecuador, Panama, Suriname, and Puerto Rico, and many of their essays focus on indigenous artists. They highlight the complex webs of social relations from which folk art emerges. For instance, while several pieces describe the similar creative and technical processes of indigenous pottery-making communities of the Amazon and of mestiza potters in Mexico and Colombia, they also reveal the widely varying functions of the ceramics and meanings of the iconography. Integrating the social, historical, political, geographical, and economic factors that shape folk art in Latin America and the Caribbean, Crafting Gender sheds much-needed light on a rich body of art and the women who create it. Contributors Eli Bartra Ronald J. Duncan Dolores Juliano Betty LaDuke Lourdes Rejón Patrón Sally Price María de Jesús Rodríguez-Shadow Mari Lyn Salvador Norma Valle Dorothea Scott Whitten