![]() ![]() ![]() But wooing her will take more than a seasoned seducer’s skill. He’s enchanted by her fierce determination, her unusual beauty, and her quiet, unfailing strength. But Bowen’s rugged sensuality stirs something deep inside her that longs to be awakened by his patient, gentle caress-something warm, wicked, and tempting.īowen seizes his enemy’s keep, unprepared for the brooding and reclusive woman who captures his heart. Unable to bear the shame of returning to a family that believes her dead or to abandon others at the keep to an imposing new laird, Genevieve opts for the peaceful life of an abbess. Still, her path toward freedom remains uncertain. Yet when Bowen Montgomery storms the gates on a mission of clan warfare, Genevieve finds that her spirit is bent but not broken. ![]() ![]() Genevieve McInnis is locked behind the fortified walls of McHugh Keep, captive of a cruel laird who takes great pleasure in ruining her for any other man. In Highlander Most Wanted, a reclusive woman content to live in the shadows shows a Highland warrior the true meaning of love. Maya Banks, the bestselling author of romance and romantic suspense has captivated readers with her steamy Scottish historical novels, perfect for fans of Julie Garwood. ![]()
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![]() The end papers and titles pages are a deep bubbly blue and amazing sea creatures float across the interior pages. ![]() Stone’s digitally-rendered illustrations immerse readers in Jeanne’s beloved ocean. She was particularly fascinated with the paper nautilus and was the first to prove that this cephalopod grew rather than borrowed its shell. She invented a holding tank that was placed in the ocean and a large aquarium to bring animals into her home for observation. Fascinated by ocean creatures, Jeanne devised a way to observe live ocean animals at a time when most marine biologists were studying dead specimens. She also fiercely defended her research in the face of male skepticism some men even tried to claim her work as their own. ![]() Using the term revolutionary, Griffin describes how Jeanne Villepreux-Power’s inventions and observations helped to change the way scientists studied animal life. This young woman and her accomplishments is the subject of a new picture book biography collaboration by Evan Griffin and Janie Stone. Formerly a seamstress, she reinvents herself as a scientist, a naturalist who explores the island on foot, journal in hand. The year is 1818 and a young woman named Jeanne wanders the shores of Sicily. ![]() Written by Evan Griffith and Illustrated by Joanie Stone Secrets of the Sea: The Story of Jeanne Power, Revolutionary Marine Scientist ![]() ![]() ![]() It’s clear that this abusive and domineering relationship will define Roland’s life long after Miriam is no longer part of it. When he hits a wrong note, “her fingers found his inside leg, just at the hem of his grey shorts, and pinched him hard.” That first touch awakens something in Roland and years later he is still not yet old enough to drive but is drawn into a passionate sexual affair with Miriam. Their private music lessons quickly become about much more than music. When the family flees Africa for London, 11-year-old Roland is sent to a boarding school where he exhibits a prodigious piano talent and meets the young woman who will forever alter his life - Miriam Cornell. Is Roland a suspect? From there we’re swept back in time to Roland’s upbringing in Libya with a stern father and a mother who cowered before him. His wife, we’re told, has “vanished.” There’s a detective in the house, asking questions. The news is filled with ominous headlines about a radiation cloud floating from Chernobyl toward Britain. ![]() ![]() ![]() When we first meet Roland Baines he is a new parent, struggling to his raise his son alone. “Roland occasionally reflected on the events and accidents, personal and global, minuscule and momentous that had formed and determined his existence.” That one sentence in Ian McEwan’s new novel, “Lessons,” nicely sums up the book. ![]() ![]() ![]() The next five issues would go on to tell a story about the Enigma of Combination, an ancient Cybertronian artifact holding the key to successful combiners. Issues #1 and #2 (and reprints of #3 and #4) would later be released with the Combiner Wars Deluxe Class Combaticon toys.Įxplicit buildup for the event began in Robots in Disguise #33, which introduced the notion of a combiner arms race, as well as setting the stage for Superion's new team members. Due to production timing issues, however, issues #1 and #2 were not released in these initial waves, whilst #3 was available only with the limited-release Quickslinger figure. Eight issues covering the creation of Superion and the new incarnation of Devastator were reprinted with the Combiner Wars Deluxe Class Aerialbot and Stunticon toys, rebranded as Combiner Wars #1-8. Combiners and the technology behind them were an important part of Robots in Disguise since its early stages, underpinning much of the book's initial 16-issue story arc. ![]() ![]() ![]() The difference between the composition of evacuees who returned and the composition of evacuees who did not return is the primary force behind changes in the composition of the affected areas in the first two years after the storm. Blacks were less likely to return than whites, but this difference is primarily related to the geographical pattern of storm damage rather than to race per se. Using data from the Current Population Survey, we show that an evacuee’s age, family income, and the severity of damage in an evacuee’s county of origin are important determinants of whether an evacuee returned during the first year after the storm. This article examines the decision of Hurricane Katrina evacuees to return to their pre-Katrina areas and documents how the composition of the Katrina-affected region changed over time. ![]() ![]() ![]() The breeze pushes smoke from the fire up through the stone chimney. During balmy summer days, the large door is always open, welcoming light and air into the house. There's a low half-door too, placed in front of the full mahogany door like a snug wooden apron. The front door is mahogany, salvaged from some drowned ship along the shores of the Irish Sea, as tightly fitted in that doorway now as any man could make it. He sees the small windows like tiny eyes in the face of the house, the glass reflecting the rising sun. ![]() It is never the same and always the same. On other days, the early morning sun throws a golden glaze upon its white facade. ![]() On some days, a wisp of smoke rises from the chimney. The boy named Robert Carson loves gazing at that house, basking in its permanence and comfort. Standing there, he knows it will turn pale blue when the sun appears to work its magic. He is staring at the house where he lives: the great good Irish place of whitewashed walls, long and low, with a dark slate roof glistening in the morning drizzle. There he is, three days after his fifth birthday, standing barefoot upon wet summer grass. They gathered in secret, deep in the dripping glens,Ĭhanting their prayers before a lichened rock. We took their temples from them and forbade them,įor many years, to worship their strange idols. ![]() ![]() ![]() ![]() Inscription to front free endpaper verso in vol. Volume one with an illustrated frontispiece, vignette illustrated half-title, 48 vignette engravings in the text volume two with illustrated frontispiece, vignette illustrated half title, and 68 vignette engravings in the text. Original brown cloth, spines lettered and decorated in gilt, sides blocked in blind with publisher's name and foliate design, advertisement endpapers, top edges gilt. "Charles Mackay's passionate erudition and urbane, unaffected prose style contributed to make him one of the chief figures in the establishment of Victorian journalism as a dignified profession" (ODNB). ![]() Still in print, Mackay's book has had a profound influence on economics and sociology, with many modern economists referring to his work when analyzing the financial bubbles of our own age. Mackay's classic covers popular delusions of all types, considering the credulous enthusiasm of mankind for phenomena such as alchemy, witchcraft, relics, the Crusades, urban myths, as well as economic events such as the tulip bubble, the Mississippi Bubble, and the South Sea Bubble. The second edition also extends the title with the now well-known phrase: "the Madness of Crowds". Second edition, the first to be thoroughly illustrated the first edition of 1841 had only five plates across its three volumes. ![]() ![]() ![]() Although my story does deal with a lot of trauma! But hopefully it’s still a fun monster-hunting adventure. ![]() They don’t have to always be depressing death marches or stories of alcoholism and trauma. They can tell stories that have to do with our culture and our mythos, and they can be entertaining and exciting and adventurous. So it was really important to me to show that Native Americans are still here, and that we will continue to be here, and that our stories can be sovereign. So we don’t seem to get a lot of play or a lot of interest from science fiction and fantasy period, much less putting us in the future. Even now, in the two movies coming out (they’re not genre movies, but I’m thinking of Hostiles and Woman Walks Ahead) they’re all set in the 1800s. They’re often Plains Indians, and they’re wearing buckskins, they’re riding horses, that sort of thing. It’s the 1800s and the Native Americans are dead or dying, and they’re often very limited in scope. Most Native American stories that you see put us in the past. Is there anything you want to add about making this a science fiction, post-apocalyptic story? You mentioned particularly “into the future,” and have talked before about Indigenous Futurism. I think it’s important and incredibly powerful to offer that kind of representation, not just to Native readers so that they can see themselves in the story but to non-Natives, too, so that they can expand their own imaginations and their own ideas about what Native people and Native culture are like now and into the future. ![]() ![]() ![]() ![]() In “The Head,” the first story of the collection, a woman is haunted by a floating head who lives in her toilet. There are other critiques, too, of misogyny, capitalism, and even modernity through these often shocking and unexpected narratives featuring assorted monsters, both literal and metaphorical. The stories follow a pattern: a series of horrors befalls the protagonists, often disasters of their own making. The underlying message serves as a warning. The collection moralizes greed and other carnal sins. They range from horror to fantasy to slightly supernatural, with the individual stories varying in how they integrate a mix of those elements into modern fables and parables. The stories defy conventional categorization. The monsters in Bora Chung’s story collection, Cursed Bunny, translated by Anton Hur, are sometimes less obvious, but not less terrifying. ![]() Grotesque monsters often serve as villains in children’s fairy tales. ![]() ![]() ![]() Mo heads into an old shop while Meggie waits outside in the street looking at other books. Apparently, he always scours every corner of old bookshops looking for a very specific old book that he has never been able to find. Meggie says that maybe he will find the old book he is always looking for. Twelve years later, Mo and his daughter, Meggie (Eliza Hope Bennet), are on their way to another old bookshop (as always, because Meggie expresses the wish to go to modern bookshops where they can have hot coco, etc.) in Germany. As he is reading aloud, things shake and move slightly (only noticed by Mo), and a red riding hood falls into the back yard onto their clothesline. They try to calm their baby girl down for bed, so Mo picks a book to read: Little Red Riding Hood. Mortimer Folchart (Brendan Fraser) is one of these "Silvertongues." In an opening shot, we see Mortimer (or 'Mo' as he's called by some) sitting with his wife, Resa (Sienna Guillory). Often, they don't know they possess the gift. A voiceover tells us that storytellers have always existed, but there are the rare few who are "Silvertongues" who can bring characters to life. ![]() |