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Immortal is a romantic suspense novel set in the present day. Octavius Kalman is a wealthy international wine merchant who relives his three hundred year life as a reluctant pawn in many historical events while in conflict with a mortal enemy. He is coping with porphyria, the genetic blood disease responsible for the vampire legends, and grieving over the loss of his one true love when she unexpectedly enters his life again—or does she? Along his dramatic journey, he is saved by his love of music and dance, becoming a key figure in the development of tango from its birth on the seaboards of Europe and South America more than 150 years ago, to its sensual presence throughout the world today. With Immortal, J.E. Mayer has created a unique blend of suspense, romance, time travel, and vampirism. An intense and fascinating read. —Adam Cushman, author of Cut.
Immortal Love presents a love story that revolves around two young people, the story enchants. It is a story of deep love that endures the darkest moments, the toughest challenges, yet the love not only survives it blossoms. The two lovers, both talented, both intelligent from differing backgrounds dig deep into their emotions to keep alive a love that is inspirational but is often threatened by external forces. Adversity comes from success, in particular the girl realises international acclaim; from obscurity she rises to stardom, a stardom that surpasses her wildest dreams. She captures the hearts of the world's audience but in doing so she is gambling with the heart of the man she loves. Fortunately that man's love, the love of their families, and the profundity of her love, a love she nearly lost, are victorious and the lovers recapture and retain their love; immortal love triumphs.
A city is paralyzed by fear after a series of violent crimes that break ultimate taboo: harming infants and young children. The police suspect a pedophile; the media fuel fears of a violent new gang. Meanwhile, a street-smart shrink and a hard-nosed cop defy the focus of the larger investigation to pursue the real serial killer, a raging time bomb who's planning an ultimate attack on innocents. Based on actual events, this chilling, fast-paced novel pulls the reader into the world of violent troubled individuals?and what happens when we fail to help them.
In the earliest years of the 20th century, North American ballroom dancers favored the waltz or the polka. But then a new dance, the tango, broke onto the scene when Vernon and Irene Castle performed it in a Broadway musical. Rudolph Valentino, Arthur Murray, and Xavier Cugat popularized it in the 1920s and 1930s, and thousands of people crowded onto dance floors around the country to hear the music and dance the tango. This work chronicles the history of the tango in the United States, from its antecedents in Argentina, Paris and London to the present day. It covers the dancers, musicians, and composers, and the tango's influence on American music.
In the ancient city of Varanasi, where the sacred Ganges River flows with the currents of time, an age-old curse casts a shadow over the land. "The Immortal's Curse" weaves a tale of mystery, mythology, and redemption set against the backdrop of one of the oldest continuously inhabited cities in the world. When Rajan Kapoor, a young scholar with a thirst for knowledge, stumbles upon a cryptic symbol etched into the walls of an ancient temple, he unwittingly unlocks a doorway to a world of ancient secrets and forbidden knowledge. Joined by Inspector Anjaneya Kumar, a determined investigator with a keen eye for detail, and Vikram Kumar, a loyal friend with a thirst for adventure, Rajan embarks on a journey that will test his courage, challenge his beliefs, and unravel the mysteries of his own destiny. "The Immortal's Curse" is a journey into the heart of darkness, a testament to the enduring power of hope, and a tribute to the timeless spirit of Varanasi—a city where the past meets the present, and the echoes of eternity linger in the air. Join Rajan, Anjaneya, and Vikram as they embark on an adventure that will take them to the very brink of existence and beyond—a journey where the threads of fate are woven and the immortal's curse is both a burden and a blessing.
From its earliest manifestations on the street corners of nineteenth-century Buenos Aires to its ascendancy as a global cultural form, tango has continually exceeded the confines of the dance floor or the music hall. In Tango Lessons, scholars from Latin America and the United States explore tango's enduring vitality. The interdisciplinary group of contributors—including specialists in dance, music, anthropology, linguistics, literature, film, and fine art—take up a broad range of topics. Among these are the productive tensions between tradition and experimentation in tango nuevo, representations of tango in film and contemporary art, and the role of tango in the imagination of Jorge Luis Borges. Taken together, the essays show that tango provides a kaleidoscopic perspective on Argentina's social, cultural, and intellectual history from the late nineteenth to the early twenty-first centuries. Contributors. Esteban Buch, Oscar Conde, Antonio Gómez, Morgan James Luker, Carolyn Merritt, Marilyn G. Miller, Fernando Rosenberg, Alejandro Susti
Writing this Tango Course is both an obligation and a great pleasure for me. It is an obligation because I would like to contribute something (of all the things that I owe) in return as an appreciation of having been fortunate enough to educate myself in the Orchestras, where I learned to play Tango. The Orchestras were a crucible where the ideas of its members and/or other creative musicians experimented, played, and came together to create playing styles, rhythmic forms, etc. These contributions were what took the Tango, little by little, to such a high musical level. Nowadays, it is not at all easy to belong to an Orchestra, considering the fact that so few can subsist. This makes it more difficult for those who want to have careers in Tango music to acquire the vast knowledge necessary for playing and interpreting it. Let us not forget that the Orchestras have always been the best schools for such an apprenticeship. It is also a great pleasure to be able to transmit and share that what I have learned, trying always not to leave anything out (that is my real intention) by relying on my memory which fortunately still helps me. I never intended for my conclusions to be taken as the absolute truth, nor wanted to win something over anyone, in anything. This course just shows my position, and the ideas with which I have always worked. We will deal here with the Tango in versions which, in my understanding, are genuine manifestations of itself. I love the Tango because I love good music, and I got into it to learn to play it, not to change it. If my versions and arrangements have something different about them, it is only because this is my language, and I have expressed myself through it. I will also talk about the incorporation of new contributions and changes, as long as they are authentic within the genre. The many streams of opinion may or may not coincide with what will be said in this course. Considering the broadness of the theme and the flexibility which should govern artistic creation, other concepts may prove constructive as well. I sincerely hope that this course will be useful to someone, Horacio Salgán
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