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Ted MacTaggart's overbearing father is still trying to control his life, even from the grave. His will insists that, in order to inherit the family company, MAC Superior, Ted must be married by his twenty-fifth birthday -- and the marriage has to be "real." As in the board of MAC has to sign off on it. Ted could fight the will, but then the handsome, artistic Ryan Costa, an old friend from school days walks back into his life, offering to be his groom-of-convenience. Ted draws up the contracts and Ryan, who has family medical bill problems, agrees gladly to the terms. Ted, emotionally walled off and afraid of his attraction to Ryan, also suggests they should keep their relationship strictly professional. Caring for people has always proven a weakness for him. Now isn't the time to start. It's not long before Ryan's charm breaks through Ted's walls, but Ted isn't his own worst enemy in this case. Other forces are vying for MAC Superior, and even when their relationship is becoming the real deal, its shaky foundations land Ryan and Ted in trouble.
Nick Colton was a spoiled rich kid when he ran away from Seattle, leaving his best friend and lover Alex Diaz behind. Ten years later, he's back. He says he's there to donate bone marrow for his half-sister, but Alex knows there's more to it than that. Alex wants to protect himself and everyone else from Nick's plans, but he needs to spend time with the man in order to figure out what he's up to. And the more time they spend together, the more Alex realizes that his own attraction to Nick is far from resolved. Nick is bent on revenge, Alex is trying to maintain his straight and conservative lifestyle, but neither of them can forget what they used to have and what they might, someday, be able to have again.
Life is a ride, but you are the horse, donkey, camel, or elephant transporting the load. The scenery you pass may be stimulating or dull, and it is often the latter. Life is also a series of lessons, but lessons learned do not necessarily prevent the horse from occasionally bolting out of control as if stung by a wasp! May your ride invigorate your imagination, but since you are the ridden, watch out for the occasional rider called ego! Buck him off if necessary to show he does not control you and that you control him! Enjoy this story of an unusual ride. Hasta luego. Alberto.
I’m the type of girl who’s given up on fairy tales. So when Beck – the hot new busboy at work – starts flirting with me, I know better than to get my hopes up. Happily ever afters aren’t for the average. I learned that the hard way. But how can I be expected to resist a man who can quote Austen, loves making me laugh, and seems to be everything hot and good in this world? Only there’s so much more to him than that. Billionaire playboy? Check. Troubled soul? Check. The owner of my heart, the man I’ve moved halfway across the country to be with, who’s laying the world at my feet in order to convince me to never leave? Check. Check. Check. But nobody does complicated like the one percent. This is not your everyday rags-to-riches, knight-in-shining armor whisking the poor girl off her feet kind of story. No, this is much messier. “Rich Boy takes you on a literal ride! Funny. Angsty. There's mean rich people and people you root for. It's a definite recommend from me! –Tijan, New York Times bestselling author “Rich Boy was witty, exciting and had the most intense slow burn romance I’ve read in a long time. The complexity of the characters was refreshing and made me wish for more!”—Audrey Carlan, #1 New York Times bestselling author
The emergence of the social sciences, established in the mid to late nineteenth-century, had a substantial bearing on how researchers, academics, and eventually the general public thought about criminal behavior. Using Modernism as a lens, Stephen Brauer, examines how these disciplines shaped Americans’ understanding of criminality in the twentieth-century and how it provides a new way to think about culture, social norms, and ultimately, laws. In theory, laws act as articulations and codifications of a community’s beliefs, values, and principles. By breaking laws, criminals help us reinforce social norms by providing the opportunity to affirm what is believed to be right. By operating outside the bounds of acceptable behavior, the criminal serves as a useful figure to understand what is at stake in the culture, what the central issues of that culture might be, and what the fears and anxieties are. Criminality serves as a lens through which we can read ourselves and how the criminal operates as a cultural figure signifies the things we are negotiating in our lives and in our communities. Brauer focuses on two main concepts, central to the very concept of Modernism, to explore criminality: contingency, the idea that the individual might not be in control of their own deviance, and agency, the notion that the criminal makes a conscious choice to use crime as a means of economic success. The figure of the criminal is a powerful one and is key to exploring American twentieth-century culture. This book would be of interest to students and scholars in criminology, sociology, cultural studies, literary studies, history, and many others.