Maja: My family situation is complicated and when Jason and I married he knew that. He knew I was too. I am a ruthless and aggressive woman at times, but I am a Meikle. Everything I could ever want is mine or at my fingertips. Except my husband and family is beyond my reach while I seek justice for my own peace of mind. However, I can gain all three back easily. All I have to do is find the right deal for all three. Beginning with my husband and a bribe he can’t refuse. Jason: I wanted one thing. Well, I thought I wanted one thing. My wife can be very persuasive when she wants to be, but going back isn’t so cut and dried. My wife’s family is complicated and her role in it has been evolving for years. I only wanted open communication and our marriage back. With her gaining more power, how can I handle the woman I thought I would grow old with, taking the throne of the Meikle empire?

Gianna: Billionaire Rolf J. Meikle is overbearing, a wild beast, and my worst nightmare! I have hated this man since the beginning of time! When he volunteers to become my husband because his brother, my one true love secretly weds another woman, my father accepts the terms of his deal. I don’t need another man in my life controlling me. I won’t allow it. I have my own life and Rolf will only get in my way. I need a way to be rid of him, for good. But why is it that when we kiss it feels so right? Rolf: Volunteering to marry the woman you slandered to her face every chance you got is not the wisest idea ever, but I did it. Now, I have to come to terms with having Gianna Mancini as my wife and keep our history a secret from this mafia princess. Watching as Gianna shows her true self only to me, I can’t help but slowly fall for my gorgeous wife. Protecting her while trying to uncover the truth of what happened between our fathers is a priority, especially when she tells me that she loves me!

Luelle I am running out of time and I need money to escape so when my prison boyfriend picked billionaire Christoff J. Meikle as our target, hacking into his network system is harder than it seems. And I don’t have time to write a new program to bypass his state-of-the-art program. With plan A out, plan B is a risky one. But one I had to take. I pray, I don’t die. Christoff My family depends on me and my marriage to ... I have to marry and soon. But Luelle Poole is intriguing and I want more. I want her love and I was going to get it. I am going to keep Luelle the hacker and I am going to protect my family at all cost.

"The U.S. president is the face of the United States to the rest of the world. However, he or she doesn't have unlimited power within the country. The president has certain powers given by the Constitution, including the ability to make treaties, appoint some important government officials, and veto laws. Readers learn the many duties of the president in simple, clear language appropriate for both younger readers and older readers looking for a succinct review of the topic. Fact boxes supplement the main content with important details about checks and balances, amendments, and more that affect the presidency today."

An easy-to-use dictionary of over 80,000 rhyming words.

This book is an in-depth analysis of three of the most crucial years in twentieth-century Italian history, the years 1943-46. After more than two decades of a Fascist regime and a disastrous war experience during which Italy changed sides, these years saw the laying of the political and cultural foundations for what has since become known as Italy's First Republic. Drawing on texts from the literature, film, journalism, and political debate of the period, Antifascisms offers a thorough survey of the personalities and positions that informed the decisions taken in this crucial phase of modern Italian history.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman’s allographic/autographic distinction, Adorno’s critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted to address challenges that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book’s commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. It uses the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work. It then examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy.