Meet Anita Blake, Vampire Hunter, in the first novel in the #1 New York Times bestselling series that “blends the genres of romance, horror and adventure with stunning panache”(Diana Gabaldon). Laurell K. Hamilton’s bestselling series has captured readers’ wildest imaginations and addicted them to a seductive world where supernatural hungers collide with the desires of the human heart, starring a heroine like no other... Anita Blake is small, dark, and dangerous. Her turf is the city of St. Louis. Her job: re-animating the dead and killing the undead who take things too far. But when the city’s most powerful vampire asks her to solve a series of vicious slayings, Anita must confront her greatest fear—her undeniable attraction to master vampire Jean-Claude, one of the creatures she is sworn to destroy... “What The Da Vinci Code did for the religious thriller, the Anita Blake series has done for the vampire novel.”—USA Today

One of Daphne Wade's guilty pleasures is to watch the Duke of Tremore as he works, shirtless, on the excavation site of his ducal estate. Anthony Courtland is by far the most exciting and handsome man she has ever known, and she dreams of one day being able to speak with him without getting tongue tied. Anthony, meanwhile, only sees Daphne as a hard worker on his excavation team. He considers her a plain young lady and says so in a careless remark to a friend, unaware that Daphne is outside the library door, her heart shattering to pieces. So Daphne decides she will not be so silly any longer. She begins to be tutored in the social graces, forcing Anthony to see the beauty who has been right in front of his eyes.

In Guilty Pleasures, legal scholar Laura Little provides a multi-faceted account of American law and humor, looking at constraints on humor (and humor's effect on law), humor about law, and humor in law.

"Kitty Thomas is a one-click author for me!" -Anna Zaires, NYT Bestselling author of Twist Me She was a bored housewife until she was taken and trained for the pleasure of the highest bidder. Vivian Delaney leads a life of privilege, but behind closed doors she feels isolated and trapped in a gilded cage. Unable to achieve pleasure with her husband, she finds herself in the capable hands of Anton, a massage therapist intent on awakening her to her full potential. But Anton is more than he seems. After gaining her trust, he lures her to a secret estate in the middle of nowhere that trains women to be sold for the pleasure of the highest bidder. All the books in the pleasures house series are interlocking standalones and can be read in any order.

When a fifteen-year-old girl is abducted by vampires, it’s up to U.S. Marshal Anita Blake to find her. And when she does, she’s faced with something she’s never seen before: a terrifyingly ordinary group of people—kids, grandparents, soccer moms—all recently turned and willing to die to avoid serving a master. And where there’s one martyr, there will be more… But even vampires have monsters that they’re afraid of. And Anita is one of them…

In the wake of radical social movements in the 1960s and 1970s, literary studies’ embrace of politics entailed a widespread rejection of aesthetic considerations. For scholars invested in literature’s role in supporting or challenging dominant ideologies, appreciating literature’s formal beauty seemed frivolous and irresponsible, even complicit with the iniquities of the social order. This suspicion of aesthetics became the default posture within literary scholarship, a means of establishing the rigor of one’s thought and the purity of one’s political commitments. Yet as Timothy Aubry explains, aesthetic pleasure never fully disappeared from the academy. It simply went underground. From New Criticism to the digital humanities, Aubry recasts aesthetics as the complicated, morally ambiguous, embattled yet resilient protagonist in late twentieth-century and early twenty-first–century literary studies. He argues that academic critics never stopped asserting preferences for certain texts, rhetorical strategies, or intellectual responses. Rather than serving as the enemy of formalism and aesthetics, political criticism enabled scholars to promote heightened experiences of perceptual acuity and complexity while adjudicating which formal strategies are best designed to bolster these experiences. Political criticism, in other words, did not eradicate but served covertly to nurture reading practices aimed at achieving aesthetic satisfaction. Guilty Aesthetic Pleasures shows that literary studies’ break with midcentury formalism was not as clean as it once appeared. Today, when so many scholars are advocating renewed attention to textual surfaces and aesthetic experiences, Aubry’s work illuminates the surprisingly vast common ground between the formalists and the schools of criticism that succeeded them.

Television personality Patsy Crow, ex-Navy SEAL Nasty Ferrito, and even their Washington town all have secrets in their pasts.

Fusing mythology and horror in a story loaded with mystery, action and romance, New York Times bestselling author Laurell K. Hamilton's Anita Blake novels take place in a world where vampires, werewolves and other creatures of nightmare have been declared legal citizens of the United States. Anita Blake is an "animator" - a profession that involves raising the dead for a living. She is also known as a fearsome hunter of criminal vampires, and she moonlights by investigating cases outside the jurisdiction of conventional police. But as Anita gains the attention of the vampire masters in her hometown of St. Louis, she also risks revealing an intriguing secret about herself - the source of her unusual strength and power. Collecting ANITA BLAKE, VAMPIRE HUNTER: GUILTY PLEASURES #1-12.

Using detailed studies of stars such as Mae West, Joan Crawford and Madonna, Guilty Pleasures examines the tradition of feminist camp - a female form of aestheticism related to masquerade and rooted in burlesque, parallel but different to gay male camp.