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'Characters that jump from the page with an entertaining and engaging plot ... Domhnall's novel ties Ireland to Istanbul in a surprising and hilarious way. The perfect antidote to a chilly winter.' ' – Áine Toner, Editor, Woman's Way ' Full of Irish nostalgia. Hilarious, charming and a little bit bonkers – I loved it!' – Jennifer Zamparelli, 2FM Colin Saint James hates his older brother, Freddie - and for good reason. A true psychopath, Freddie has been hell-bent on destroying Colin's happiness since before he was born! Never one to admit defeat, Colin searches for opportunities to get one up on his sibling, even just once. When the heats for the final ever Housewife of the Year competition are announced, Colin sees his chance. The only problem is he needs a wife. Luckily, he lives next door to Navan's best-looking woman, Azra, who happens to be single and anxious to get a ring on her finger. But Azra is also a Turkish concubine and she and Colin don't exactly see eye-to-eye over her nocturnal activities. Will Colin be able to park his reservations about his X-rated neighbour if it gives him the chance to emerge triumphant over Freddie for once in his life?
When Clooney Coyle promises Vonnie Gallagher they'll be friends for life, he has no idea what he's letting himself in for. The lonely and eccentric Vonnie quickly becomes obsessed with the kind-hearted but insecure actor, and her misguided crush soon develops into something much more sinister, which leaves Clooney's career in tatters. But when fate takes a strange turn and elevates the pair into an overnight celebrity couple, Clooney must decide whether to embrace the fame he has longed for since childhood or end the ridiculous charade before Vonnie's jealous – and murderous – inclinations spiral out of control.
Death comes for everyone. Deep in the Florida Everglades, the body of a woman is discovered in pieces, presumably ravaged by an alligator. Upon closer inspection, it’s determined no animal could make such perfectly precise cuts. Only a blade could do that. Wielded by a human. Soon, dozens of oil drums emerge amid the river of grass. Each one packed to the brim with body parts. FDLE special agent Amy Larson and her partner, FBI special agent Hunter Forrest, share a bad feeling that extends beyond the horrifying nature of the grim discovery. They’ve seen this kind of sadistic killing before, and when a small beige horse is discovered at the bottom of one of the barrels, they know exactly what it means. The fourth horseman of the apocalypse rides a pale horse—and his name is Death. With so many bodies to identify, connecting one victim to the next is easier said than done. But finding a pattern in the chaos might be the only way Amy and Hunter can zero in on the killer, testing their skills as agents—and their relationship—like never before. And when the disturbing trail of clues signals these slayings are just the beginning, the agents will have to return to where it all started before it’s too late. The apocalypse is coming, and Hunter and Amy have only one chance to stop it, even if it means sacrificing each other.
*NOTE: this book is a standalone in the same world as The Proposal (different couple). You can read them in any order. I caught the bouquet at my best friend’s wedding. I wasn’t even dating anyone, so I was sure I wouldn’t be next. Until someone from the past came back. We’d promised if neither of us were married by the time we were thirty we’d marry each other. But then I’m taken captive by someone else and told I am the sacrifice, that I’m now property. A payment for a debt that has nothing to do with me. Now I wish I could go back to that boring, safe life. Because this can’t possibly be my fairy tale. NOTE: This is a dark contemporary standalone that occurs in the same world as The Proposal. This book can be read first or completely by itself. If you like dark alpha male billionaires that kidnap the heroine into a contract marriage of convenience, you'll love The Sacrifice.
This isn't the part of the story where the princess gets the prince. This is the part where she gets locked in the tower. THE PROPOSAL: (Book 1) Livia wants to get married. She's tired of men stringing her along into being their forever girlfriend, so she decides to build a rotating harem and ruthlessly eliminate any man who fails to give her what she needs. But when the three men in her current dating rotation all know each other and decide they're all taking her, will she be played once again? THE SACRIFICE (Book 2) Always the bridesmaid, never the bride. Macy caught the bouquet at Livia's wedding and now finds herself engaged to William, a nice enough man she knew from college, but she isn't attracted to him. And either way, Colin Black is about to turn her world upside down when he accepts her as payment for Livia's husband's debt. She's now the sacrifice. Maybe that wedding won't happen after all. “Every time a new Kitty Thomas book comes our I think she cannot top the last story and once again I am wrong!” – Kelly, Goodreads. “Colin was HOT. He oozed that strong quiet power that I adore. He was ruthless and powerful yet he was so careful with Macy, it’s a combination I love. 5 Sacrificial Stars!” – Charlie, Goodreads reader
As its compiler Thomas Bentley writes, The Monument of Matrones (1582) is a 'domesticall librarie plentifullie stored and replenished'. This 1500-page book is one of a long line of books of secular prayer reaching from the Middle Ages through the sixteenth-century English compilations of prayer and meditations that grew out of the English Reformation. It is unique because it is addressed specifically to women and contains prayers and meditations written by women as well as for them. The Monument helped define women's roles in the Anglican Church and is intertwined with the whole nature of the Protestant Reformation and the place of women in it. The work is divided into seven numbered parts which Bentley titles 'Lamps'. This structural theme is based on a fusion of the imagery of the wise and foolish virgins and their lamps in Matthew 25:1-13 with the vision of the seven lampstands (or seven-branched candlestick) in Rev.1:20-2:1. In this facsimile edition Volume 1 contains Lamps 1-3, Volume 2 contains Lamp 4, and Volume 3 contains Lamps 5-7. The Introductory Note that appears in each of the three volumes provides an overview of the contents of The Monument which will help the reader to appreciate the riches of this immense book. It is also significant in identifying, for the first time, the compiler Thomas Bentley as the churchwarden of St Andrew Holborn, City of London. The copy reproduced in this edition is the British Library copy; where necessary, pages from The Huntington Library copy have been substituted.
International Bestseller: The essential guidebook to the history of magic and occultism—“the most interesting, informative, and thought-provoking book on [the occult]” (The Sunday Telegraph) Colin Wilson’s great classic work is a comprehensive history of mystery and magic. His genius lies in producing a skillful synthesis of the available material; clarifying without simplifying, seeing the occult in the light of reason and reason in the light of the mystical and paranormal. It is a journey of enlightenment—a wide-ranging survey of the whole subject and an insightful exploration of Man’s latent powers. Republished two years after the author’s death, and with a new foreword by bibliographer Colin Stanley, Wilson brings his own refreshingly optimistic and stimulating interpretation to the worlds of the paranormal, the occult, and the supernatural.
Marital Imagery in the Bible. It can only be imagined that when the New Testament writers made their (albeit brief) comments on divorce and remarriage that they assumed they would be understood. So what has gone wrong? In the years after the destruction of Jerusalem in 70 CE, when Graeco-Roman culture was at its height, the Jewish perspective of marriage and divorce, and thus the context of those brief New Testament comments was lost. The Christian church of that era was influenced by the neoplatonic ideas of the day, and an idealised concept of marriage developed from on Adam and Eve’s marriage recorded in Genesis 2:23—it was love at first sight, a marriage made in heaven. These concepts frame an understanding of marriage in much of Western culture even today. However, that was never the understanding of ancient Israel. Instead they looked to Genesis 2:24: ‘Therefore a man shall leave his father and his mother and hold fast to his wife, and they shall become one flesh’—so a naturally born man chooses a wife for himself, and their union was based on a ‘covenant’—in other words an agreement. The Old Testament makes it clear what the basis of that agreement was. Furthermore, it is clear, if that agreement was broken, there could be a divorce and a remarriage. All the Bible’s marital imagery (where the Hebrew and Christian Scriptures imagine that God is married to his people) is based on that understanding of human marriage. But so strong is our concept of marriage, that when Genesis 2:24 is referred to in the New Testament, it is thought that the reference is to Adam and Eve’s marriage. It is a paradigmatic marriage that for many excludes (or greatly restricts) the possibility of divorce and remarriage. This study looks to challenge that paradigm—and to suggest that the New Testament writers would not have employed an imagery which had at its center divorce and remarriage, only to deny the possibility of such in their own human marriage teaching. Colin Hamer’s thesis represents the only recent work on metaphor theory in biblical scholarship. It challenges centuries of academic scholarship and ecclesiastical assumptions about divorce. Hamer’s detailed and well researched analysis challenges the consensus view that the marriage of Adam and Eve in Gen 2:24 represents an ontological unity, suggesting important implications for contemporary Christian teaching on marriage and divorce.