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From New York Times bestselling author Aurora Rose Reynolds comes the second book in the steamy, witty, and hilarious How to Catch an Alpha series. Chrissie doesn't have time for guys, hot or otherwise; most days, she barely has time to sleep. With a thriving bakery that demands her attention and plenty of proof that relationships aren't worth the trouble, she's content to go it alone. Too bad she's unwittingly baited Mr. Tall, Dark, and Way Too Gorgeous--and he's just waiting for a chance to bite. Gaston is used to getting what he wants, but he also knows nothing good ever comes easy. From the moment he meets Chrissie, he realizes that this woman who makes him laugh, smells like cupcakes, and looks like a tasty snack is going to be his greatest challenge. And if he's lucky, she'll be his biggest reward. But someone else wants to catch Gaston at all costs--even if it means endangering the lives of the people he loves. Somehow Gaston must thwart danger and convince Chrissie that he's the perfect catch.
Re-release of the same title, if you have the previous version please do not repurchase. Henry's painful past had him keeping everyone at a distance. Settling into life in the pack was the only thing keeping him sane. When a broken-hearted wolf with the shape of a human comes seeking sanctuary, Henry can't resist. Dakota had never wished to be human. The victim of a mad scientist Dakota had transformed from a happy wolf to a miserable man. Will the big scarred chef be able to make everything all right or will he always long for his four-pawed form.
We read the book, and the book is reading us. In his later novels, Charles Dickens uses the interaction between characters and their audiences within the fiction to dramatise his growing understanding of the pivotal role of spectatorship and choice in a more democratic society. Egotists of all stripes, intent on bending the world to their singular will, would appropriate the power of spectatorship by taking command of the detachment necessary for choice. Dickens’s pluralistic art of sameness and difference redefines that detachment, and liberates choice both inside and outside the novels, for the relationship between characters and their audiences within the narratives actually inscribes our own relationship with them in the performance of reading, a reflective doubling of the fiction upon the reader across time with moral consequences for our spectatorship of our own lives.