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His Bound Plaything is book 3 and the finale of A Rich & Reckless Romance trilogy! My billionaire boss wants to make me his bride. I was in danger from the minute I stepped into his office. But there's no escaping a man like Enzo Lennox. He'll either force me to bend across his desk… Or put a ring on my finger so I belong to him for life. I should've have run away as soon as I had the chance. But there was something about Enzo that had me frozen in place. His eyes… His hands… The words that came out of his mouth – so shocking and filthy and downright powerful. I did everything I could to resist him. But he saw right through that. He knew what was boiling below my surface: Need. Desire. Craving. I was his slave from the second his eyes landed on me. Everyone warned me away from him. He's a player, a scoundrel, they said. Here one day and gone the next. A broken heart was inevitable. I know all that. And yet, when Enzo puts his hands on my hips, I can't help but submit. But no matter how much I give, he wants more. The billionaire is not just satisfied with my body. He wants to own my heart, my mind, my soul. He wants me as his bound bride.
"Lily Idle carries a secret. But she can't remember it. She's in her 80s and suffers from dementia. That's too bad because one of the secrets she carries around inside her head is so dangerous that, unless it's exposed, it could change the world--much for the worse. Her grandson, Nate Idle, is a thirty-something investigative medical journalist, smart and witty but rough around the edges. Now he faces his toughest assignment ever: figuring out the secret inside his grandmother's head before a conspiracy goes deadly wrong."--Jacket.
This book is inspired by the 2015 Italian Art Society-sponsored conference sessions of the American Association of Italian Studies. Its seven chapters span the art of ancient Etruria to twentieth century Italy, and explore a variety of media, including mirrors, cameos, treasury objects, reliquaries, ceramics, and figurines. Contributors approach the topic of the minor arts from a variety of interdisciplinary perspectives, including reception, use, patronage, gender issues, propaganda, and iconography. The volume thus fills the lacuna in the scholarship of the minor arts, and reveals that the minor arts are unique and worthy of study for their size, preciosity, patronage, audience, function, portability, and material. Ultimately, in revealing the importance of these objects, the book shows that the division between the major and minor arts is no longer valid, and that these objects of the minor arts hold as much significance as those of the major arts.
This beguiling story is woven around the life of Fragrant Lotus, who has her feet bound in the supreme Golden Lotus style when she is six years old. Events in Fragrants Lotus’ life twist and unfold in a series of witty and often wicked ironies, obliterating easy distinctions between kindness and cruelty, history and fable, forgery and authentic work. The novel’s waggish narrator exists in the tension between judgement and description, wryly deflating his reader’s certainties along the way. Written in 1985, The Three-Inch Golden Lotus is a deeply affecting, thoroughly enjoyable literary revelation.