(Author's Note: Saving Eve is a companion novel to The Witching Pen series, and should be read after The Last Dragon.) Amid long, wild grass, a snake slithers, hidden. Hidden until a man opens his eyes... Awaking with amnesia in St Mary's Hospital, after a near-fatal freak accident, he is known only as Luc. With the help of Evie Gold, the kind, young woman who found him, he starts a new life - a second chance, a clean slate. A bond burgeons between them. But disturbing dreams of dark deeds become waking recountings. A blackness is uncoiling - seductive, familiar and dangerously provocative. An ancient craving stirs; an old addiction rises. Nothing is as it seems, and as reality crumbles, Luc finds himself asking, not just who he is, but... Who is Evie? From the author of the international bestselling Witching Pen series, Dianna Hardy takes a seed from The Last Dragon, and brings you an existential story of two beings in search of completion. Length: Short novel at just over 40,000 words. Written in British English. REVIEWS ★★★★★ "Dianna Hardy's fresh and unique craft appears effortless. Her words never fail to move the reader, engaging them fully and opening up a vivid world. Truly, her striking literary style is as beautiful as it is original." - Bex 'n' Books ★★★★★ "...perfect. There is no other word to use for what I felt for this book. I loved Lucifer, and I knew I would enjoy this book even though Dianna Hardy had stated that it changed from the way she had originally planned it, but after reading the book I, personally, couldn't have asked for a better story. It was meant to be this way. This was how the story was supposed to go, and it was perfect." - author, Elizabeth Morgan.

The prey is cornered. Will Eve Duncan survive? Will those she loves take the fall with her? And will the secrets of Eve's past ultimately become her undoing? Now, the stakes are even higher because it's a question of capture and escape, hunter and prey, life and death.

This book brings these theories together under one methodological roof, where the choices made by economic agents depend on their varying perceptions of the economic constraints they face, combining new classical principles, under which the economy operates at full employment, with theories that allow for extended periods of underemployment brought about by mixed signals from workers and employers. The task of macroeconomics is to provide the tools for understanding the performance of the aggregate economy, as measured by production, employment, inflation, and other economic indicators. Most books on this topic compare different theories of macroeconomic performance, under alternative assumptions about how individual consumers, workers and investors adjust to the economic environment in which they find themselves. This book brings these theories together under one methodological roof, where the choices made by economic agents depend on their varying perceptions of the economic constraints they face, combining new classical principles, under which the economy operates at full employment, with theories that allow for extended periods of underemployment brought about by mixed signals from workers and employers. The book takes up modern monetary theory and its bearing on the massive deficits run up the federal government over the ongoing ‘corona contraction’ and the earlier ‘great contraction’. The author also reviews the policy interventions undertaken by the federal government during these contractions, with a view toward assessing their effectiveness.

Macroeconomics is the study of the economy as a whole and of work and saving choices of individual economic agents from which macroeconomic activity emerges. This book takes an integrative approach to that topic, showing how short-run and long-run forces operate simultaneously to determine the behavior of key economic indicators such as employment and real, inflation-adjusted GDP. The first goal of macroeconomic policy is to bring real GDP into line with the maximum attainable potential real GDP—the level of real GDP at which there are enough jobs to provide employment for every person who wants to work and at which government has done all it can to eliminate disincentives for workers to seek jobs and for employers to offer them. The second goal is to promote economic growth, which means encouraging innovation and a business climate conducive to innovation. This book corrects a popular view that a protracted economic downturn is necessarily characterized by an excess supply of labor and goods and a need for expansive monetary and fiscal policies. In fact, and as was shown some 40 years ago, the problem could just as well be characterized by an excess demand for labor and goods and a need for contractive monetary and fiscal policy.

This book, produced in two volumes, takes an integrative approach to the study of macroeconomics. In that respect, the book brings the different strands of macroeconomics together into a single approach under which economic agents strive to make rational choices but, while doing so, sometimes misconstrue the data available to them. The result is imbalances between aggregate supply and aggregate demand that can cause economic contractions. These imbalances may be self-correcting, or they may become long-lived and require government intervention through the exercise of corrective monetary and fiscal policy. Volume I examines economic behavior on the assumption that economic agents correctly interpret the data before them. It thus takes a “micro foundations” approach, under which aggregate supply equals aggregate demand. Volume II allows for the possibility of myopia on the part of economic agents and for the resulting economic malperformance that can result from this myopia. It examines the short-run disparities between aggregate supply and aggregate demand that can result from ill-informed choices of individual economic agents or from a misdiagnosis of economic data by policy makers. It concludes with a review of recent U.S. economic policy. The book aims to correct a good number of misconceptions that bedevil economic policymaking—among them the idea that protracted economic contractions necessarily call for increased government spending and lower taxes. It challenges the common understanding that government deficits raise interest rates and “crowd out” private investment.

Mad scientist or brilliant artist? Dr. Manny Loewe makes history by creating, Eve, the world's first ever living humanoid with real DNA. His joy in creating her is matched only by her voluptuous physical beauty and her enormous capacity for love. Yet it is these very features that ultimately bring her to the edge of ruin, and him to a shocking resolution. There was always much more at stake than she could ever have imagined.

Sonya Sones, award-winning author of What My Mother Doesn’t Know, delivers a gripping, funny, and inspiring novel in verse about what happens when the person you set out to save ends up saving you. Right before winter break, fourteen-year-old Molly Rosenberg reluctantly volunteers to participate in Santa Monica’s annual homeless count, just to get her school’s community service requirement out of the way. But when she ends up meeting Red, a spirited homeless girl only a few years older than she is, Molly makes it her mission to reunite her with her family in time for Christmas. This turns out to be extremely difficult—because Red refuses to talk about her past. There are things Molly won’t talk about either. Like the awful thing that happened last winter. She may never be ready to talk about that. Not to Red, or to Cristo, the soulful boy she meets while riding the Ferris wheel one afternoon. When Molly realizes that the friends who Red keeps mentioning are nothing more than voices inside Red’s head, she becomes even more concerned about her well-being. How will Molly keep her safe until she can figure out a way to get Red home? In Sonya Sones’s inspiring novel, two girls, with much more in common than they realize, give each other a new perspective on the meaning of family, friendship, and forgiveness.

This second edition of Approaches to Teaching Milton's Paradise Lost addresses Milton in the light of the digital age, new critical approaches to his poem, and his continued presence in contemporary culture. It aims to help instructors enliven the teaching of Paradise Lost and address the challenges presented to students by the poem--the early modern syntax and vocabulary, the political and theological contexts, and the abounding classical references. The first part of the volume, "Materials," evaluates the many available editions of the poem, points to relevant reference works, recommends additional reading, and outlines useful audiovisual and online aids for teaching Milton's epic poem. The essays in the second part, "Approaches," are grouped by several themes: literary and historical contexts, characters, poetics, critical approaches, classrooms, and performance. The essays cover epic conventions and literary and biblical allusions, new approaches such as ecocriticism and masculinity studies, and reading Milton on the Web, among other topics.

William Rothman argues that the driving force of Hitchcock’s work was his struggle to reconcile the dark vision of his favorite Oscar Wilde quote, “Each man kills the thing he loves,” with the quintessentially American philosophy, articulated in Emerson’s writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the murderous villain and godlike author, Hitchcock, who pulls the villain’s strings—and ours. Because Hitchcock believed that the camera has a murderous aspect, the question “What if anything justifies killing?,” which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock’s career, Rothman discerns a progression in the films’ meditations on murder and artistic creation. This progression culminates in Marnie (1964), Hitchcock’s most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted. Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock’s way of thinking cinematically and the philosophical way of thinking Emerson’s essays exemplify. He finds that the terms in which Emerson thought about reality, about our “flux of moods,” about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general.

Leading critic John Leonard explores the writings of John Milton from his early poetry to his major prose.