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To coincide with the commencement of the 2009 Bledisloe Cup Series and with the Rugby World Cup just around the corner, Exisle Publishing proudly releases Gregor Paul's controversial new book Black Obsession. This explosive book examines why it is that the world's greatest Rugby nation continues to fail in their quest for World Cup glory. Since ...
Black's Trilogy are three stories of a self made man that is educated and wealthy but still very attached to his roots and his community, the only weakness he has ever had is the love he has had for a woman that for some reason he has never been able to have, Book One: Black's Obsession is the story of how he spends over thirty years in the pursuit of her and the complications and rewards that love and life brings and it tells how you may get what you want but not in the way you may want it. Synopsis from Black's Obsession Three nights before my wedding I called Cinnamon and told her that I loved her as soon as she answered the phone. She responded by saying "I love you too, you are my boy". I told her "No not friendship love, I really love you, the way a man loves a woman love". Before she could answer my fiancé came on the line and said "Girl I really love you too, but I am going to hang up now, I really need to talk to my man".
Revisit a suspenseful Valentine’s Day novella from bestselling author Lynette Eason Hang-up calls, graffiti, break-ins at her shop right before Valentine’s Day… Someone wants to scare Holly Maddox—and it’s working. Her high school sweetheart, Eli Brody, comes to the rescue, but surely the handsome detective doesn’t really plan to stay. There’s nowhere for Holly to turn as danger—and heartbreak—start closing in. Originally published in 2010
FBI agent Steve "Ace" Miller's homecoming to the city of his birth is anything, but pleasant. While on vacation to attend a class reunion, his life is complicated by the rekindling love affair with his high school sweetheart, Vicky Montgomery. During their stormy fling, he soon discovers that Vicky who is now a high-ranking government agent holds the key to exposing a top secret invention that entire nations would go to war over in order to obtain. However, while unknowingly protecting this secret invention, Steve is drawn into a personal war with a deranged madman who has suddenly gone on an incredibly brutal killing spree in order to fulfill a ghoulish prophecy of his own.
There has only ever been one guarantee in my life. Death. I’ve seen it take everyone I care about and then some. That’s why I left my old life behind and handed my loyalty to those at Kadia, the nightclub of sin and freedom in New York City. I should have known better. I should have known my demons would catch up with me. The dominos begin to fall with the appearance of five armed Russians who know the dark corners of my old reputation. But nothing is as it seems, and they lead me to an old employer who needs a favor—and who still keeps his daughter under lock and key for her own protection. Tatiana Ivanov. Without her, I might not have any reason to keep fighting. Without her, I might have been content to watch them all burn. They deserved it. She did not. If I have to die for something, it might as well be for her.
Was he her protector? Or a predator… It was the final glimpse Erin Ramsey would have of her sister: Megan’s body, drained of blood, lying lifeless in a New York alley. Tormented by the fact that she hadn’t been there when her sister needed her, Erin promises herself that she’ll find Megan’s killer. Detective Nicholas Slade tells Erin to go home, back to California. He says he doesn’t want her to be the murderer’s next victim. But his warning comes too late. Erin is already in danger, in thrall to a man who cloaks himself in shadows and haunts her nightmares. Erin is desperate to find her sister’s murderer—and desperate to avoid becoming his prey—but she feels her own life spinning out of control as the silver-eyed specter from her dreams lures her deeper into his world. Nick may be the only one who can help her, but she’s afraid to trust him. Her deep attraction to the secretive detective is tinged with fear. He only works the night shift. He wears sunglasses in the dark. And he may have been the last person to see Megan alive… Previously published.
A vicious demonic plot. A curse decades in the making. An epic love that burns hotter than all of it… Charlotte... All Charley’s nightmares are real. Demons. Dark witches. Her murderous uncle. With her soul bound to an ancient demon lord and her sister taken captive by a monster, hope is in short supply. But Charley will not go down without a fight. Not when it comes to her sister, and not when it comes to the vampire king who’s claimed her heart. Even if it means siding with a brutal enemy from her past. Even if it means making a choice that will alter the course of her life… for eternity. Dorian... Dorian never wanted his father’s crown or the secrets that came with it. He never wanted to fall in love with the seductive stranger he’d ravaged in a closet, either. But fate had other plans. Now, with the enemies of House Redthorne lurking in every shadow, demons threatening to destroy his city, and an ancient lord of hell laying claim on the woman who’s set Dorian’s very soul on fire, the vampire king has only one mission: Burn. Them. All. Even if it means betraying his father’s memory. Even if it means making the darkest sacrifice of his immortal life...
Abandoning the Black Hero is the first book to examine the postwar African American white-life novel—novels with white protagonists written by African Americans. These fascinating works have been understudied despite having been written by such defining figures in the tradition as Richard Wright, Zora Neale Hurston, James Baldwin, Ann Petry, and Chester Himes, as well as lesser known but formerly best-selling authors Willard Motley and Frank Yerby. John C. Charles argues that these fictions have been overlooked because they deviate from two critical suppositions: that black literature is always about black life and that when it represents whiteness, it must attack white supremacy. The authors are, however, quite sympathetic in the treatment of their white protagonists, which Charles contends should be read not as a failure of racial pride but instead as a strategy for claiming creative freedom, expansive moral authority, and critical agency. In an era when “Negro writers” were expected to protest, their sympathetic treatment of white suffering grants these authors a degree of racial privacy previously unavailable to them. White writers, after all, have the privilege of racial privacy because they are never pressured to write only about white life. Charles reveals that the freedom to abandon the “Negro problem” encouraged these authors to explore a range of new genres and themes, generating a strikingly diverse body of novels that significantly revise our understanding of mid-twentieth-century black writing.
Intended for teachers and students of American Literature, this book is the first comprehensive analysis of romantic tendencies in postmodernist American fiction. The book challenges the opinion expressed in the Columbia History of the American Novel (1991) and propagated by many influential scholars that the mainstream of postmodernist fiction is represented by the disjunctive and nihilistic work of such writers as Kathy Acker, Donald Barthelme, and Robert Coover. Professor Alsen disagrees. He contends that this kind of fiction is not read and taught much outside an isolated but powerful circle in the academic community. It is the two-part thesis of Professor Alsen's book that the mainstream of postmodernist fiction consists of the widely read work of the Nobel Prize laureates Saul Bellow and Toni Morrison and other similar writers and that this mainstream fiction is essentially romantic. To support his argument, Professor Alsen analyzes representative novels by Saul Bellow, J.D. Salinger, Norman Mailer, Flannery O'Connor, John Updike, Kurt Vonnegut, Philip Roth, Thomas Pynchon, Toni Morrison, the later John Barth, Alice Walker, William Kennedy, and Paul Auster. Professor Alsen demonstrates that the traits which distinguish the fiction of the romantic postmodernists from the fiction of their disunctive and nihilist colleagues include a vision of life that is a form of philosophical idealism, an organic view of art, modes of storytelling that are reminiscent of the nineteenth-century romance, and such themes as the nature of sin or evil, the negative effects of technology on the soul, and the quest for transcendence.
In the critical essays collected in Black Looks, bell hooks interrogates old narratives and argues for alternative ways to look at blackness, black subjectivity, and whiteness. Her focus is on spectatorship—in particular, the way blackness and black people are experienced in literature, music, television, and especially film—and her aim is to create a radical intervention into the way we talk about race and representation. As she describes: "the essays in Black Looks are meant to challenge and unsettle, to disrupt and subvert." As students, scholars, activists, intellectuals, and any other readers who have engaged with the book since its original release in 1992 can attest, that's exactly what these pieces do.