The novel is three intertwined stories with one central character, the narrator, Christian Verdugo. Christian Verdugo is a twenty-three year old male of Mexican American descent. Story One deals with Christian and his relationship to two friends, Ezer Kadosh and Miel Mishima, both aged 23. They have been friends since high school. This story deals with each of the characters as they develop and seek to gain independence from each other's influence. In the course of the story, Ezer will embark on a commercially lucrative career as a painter/artist, and he will come out of the gay closet, declaring his interest in Christian, who is not gay. This, of course, causes problems. Miel is a musician with his own band, and he is also on a path of self-discovery that includes his band, his art, his love of a woman five years his senior, and his experimentation with drugs. Story Two deals with Christian's broken heart over a girl named Maribeth who has left the country and fallen in love with someone else. Christian, in an evolving effort to ease his heartache, will have an affair with an art school teacher, a woman 14 years his senior, known both to him and Maribeth. This affair will prove to be an instructive, enlightening adventure for Christian. Story Three deals with Christian's job working for a crazy and irresponsible attorney, Gordon Hamilton, who is stealing money from his clients, and living the life of sybaritic excess. Gordon's irresponsibility will cause a lot of authority to be delegated to Christian, a precocious young man growing up quickly through circumstance. Gordon will end up stealing from the wrong client, a Mexican Mafia hitman and criminal defendant, which will result in Gordon's disappearance and probable but unconfirmed execution. In a bizarre twist, this hit man, Oscar Godoy, will take a paternal and professional interest in Christian, and offer him a job. A job doing what, Christian can only guess. These three stories will run simultaneously and meld at the novel's end when Christian escapes to Mexico to reassess the direction of his life.

This book is named after the exhausted workers, who return home hungry and sleep in hunger to restart the next days routine, in whose books the term holiday does not exists. This book is not named after kings, monarchs, nobles, intellectuals, and the rich and affluent, instead it is named after the daughters who are abused, womenfolk who are molested, and for their children who are kidnapped for ransom, which they do not have. This book is named after those married women who are married for the names sake, whose bodies are presented for decorations but are still living a life of ignored, neglected, dejected vagabonds; whose sobs are unheard, are liked fallen cracked leaves being crumpled further by passersby, and whose lives are dark, cold, and moist.

Modern screen acting in English is dominated by two key figures: Method acting guru Lee Strasberg--who taught the "the art of experiencing" over "the art of representing"--and English theater titan Laurence Olivier, who once said of the Method's immersive approach, "try acting, it's so much easier." This book explores in detail the work of such method actors as Al Pacino, Ellen Burstyn, Jack Nicholson and Jane Fonda, and charts the shift away from the more internally focused Strasberg-based acting of the 1970s, and towards the more "external" way of working, exemplified by the career of Meryl Streep in the 1980s.

My writing style is like a wheel. I begin with the hub then branch out into other tales; however, before it all ends, I bring it back so that it all makes sense. I'm able to describe a murder as well as sex without resorting to explicit detail like so much found in today's fiction. By the proper use of language, I accomplish the same emotional response from my readers. The reader often finds interesting essays that digress from or adds to the main plot. They might include slices of local history or an explanation why certain things appear as they do. My stories are told with the reader in mind. The plots are fast moving and contain enough surprises to hold the reader's attention. The Tennessee Mountain Man is my third book. It takes a popular character from the first bio novel, Reno's Funmakers, and gives his exploits after five years of marriage. The year is 1861, and the trouble down at Fort Sumter, in South Carolina, not only changes the United States but Jack Leffingwell and his family. Along with the main plot, my books never fail to offer the reader information that was previously unknown, making it a learning experience.

Revising dominant accounts of Puritanism and challenging the literary history of sentimentalism, Sympathetic Puritans argues that a Calvinist theology of sympathy shaped the politics, religion, rhetoric, and literature of early New England. Scholars have often understood and presented sentimentalism as a direct challenge to stern and stoic Puritan forebears; the standard history traces a cult of sensibility back to moral sense philosophy and the Scottish Enlightenment, not Puritan New England. Abram C. Van Engen has unearthed pervasive evidence of sympathy in a large archive of Puritan sermons, treatises, tracts, poems, journals, histories, and captivity narratives. He demonstrates how two types of sympathy -- the active command to fellow-feel (a duty), as well as the passive sign that could indicate salvation (a discovery) -- permeated Puritan society and came to define the very boundaries of English culture, affecting conceptions of community, relations with Native Americans, and the development of American literature. Van Engen re-examines the Antinomian Controversy, conversion narratives, transatlantic relations, Puritan missions, Mary Rowlandson's captivity narrative -- and Puritan culture more generally -- through the lens of sympathy. Demonstrating and explicating a Calvinist theology of sympathy in seventeenth-century New England, the book reveals the religious history of a concept that has previously been associated with more secular roots.

A thoughtful and accessible interpretation of Jonathan Edwards's immensely relevant and enriching work Religious Affections.

Miss Payton Peppiwell has had enough of lords and the scrutiny of high society. After the ton's fickleness leads to her being jilted and the resulting disdain, Payton vows to marry someone as ordinary as she. Fate delivers in the form of a scandalous encounter with Mikhail Konstantinovich, an intriguing—and untitled—horse breeder. Mikhail abhors anything to do with intimacy. Yet Miss Peppiwell stirs hunger and a need long forgotten in him. But he has a dark past—one that means his lust must be sated in a way entirely unsuitable for a lady. His biggest secret may be hardest for Payton to forgive: Mikhail is not only titled, he's a prince... Each book in the Scandalous House of Calydon series is a standalone, full-length story that can be enjoyed out of order. Series Order: Book #1 The Duke’s Shotgun Wedding Book #2 The Irresistible Miss Peppiwell Book #3 Sins of a Duke Book #4 The Royal Conquest