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The fascinating personalities of Regency England provide the dramatic intrigue of this excellent social history that looks at the dynamic forces of English society in flux. From the acclaimed author of Bloody Mary and Mistress Anne.
First in the series featuring the darkly handsome, proud, and arrogant Orsini brothers—the perfect Sicilian husbands—from the USA Today–bestselling author. Raffaele Orsini doesn’t want a wife . . . But when he meets his arranged bride, Raffaele feels honor bound to marry her. She’s not what he was expecting . . . but her dowdy clothes can’t hide her lusciously feminine figure or her wildcat temperament! Chiara Cordiano will not love her husband! She’s tried everything to avoid her fate, but in the blink of an eye Chiara is swept away from her quaint Sicilian town to New York! She wants to hate Rafe, but seduction is in his blood. With his dark, brooding looks and tempting masculinity, she’ll be purring like a kitten!
William Bligh: A Stormy Story of Tempestuous Times, the third in a series of books on the British settlement of Australia, peels back the layers of some of the most incredible circumstances in Australia s colonial history, and invites young readers to examine what lies below the surface. Beautifully written by Michael Sedunary and complemented by the stunning artwork of Australia s most prominent ceramic artist, Bern Emmerichs, this is an exceptional book."
Now in its Third Edition, this book clarifies the distinctions between the vast array of personality disorders and helps clinicians make accurate diagnoses. It has been thoroughly updated to incorporate the changes in the forthcoming DSM-5. Using the classification scheme he pioneered, Dr. Millon guides clinicians through the intricate maze of personality disorders, with special attention to changes in their conceptualization over the last decade. Extensive new research is included, as well as the incorporation of over 50 new illustrative and therapeutically detailed cases. This is every mental health professional's essential volume to fully understanding personality.
In this classic contemporary romance by a USA Today–bestseller, an arrogant tycoon’s former mistress struggles to keep him out her life—and their son’s. Once, Luc Santini’s inherent sensuality had been Catherine Parrish’s downfall. For two years she had loved him unconditionally, until she realized that this impossibly rich, and infuriatingly powerful man regarded her as a possession! Catherine fled her gilded cage, keeping her pregnancy a secret . . . until now. Fate has placed Luc back into her life. He doesn’t know about their child . . . and Catherine intends to keep it that way. But will she surrender to his erotic demands—and risk losing herself in a whirl of desire—to protect her son? Originally published in 1991.
In 1971, Michael Blakemore joined the National Theatre as Associate Director under Laurence Olivier. The National, still based at the Old Vic, was at a moment of transition awaiting the move to its vast new home on the South Bank. Relying on generous subsidy, it would need an extensive network of supporters in high places. Olivier, a scrupulous and brilliant autocrat from a previous generation, was not the man to deal with these political ramifications. His tenure began to unravel and, behind his back, Peter Hall was appointed to replace him in 1973. As in other aspects of British life, the ethos of public service, which Olivier espoused, was in retreat. Having staged eight productions for the National, Blakemore found himself increasingly uncomfortable under Hall's regime. Stage Blood is the candid and at times painfully funny story of the events that led to his dramatic exit in 1976. He recalls the theatrical triumphs and flops, his volatile relationship with Olivier including directing him in Long Day's Journey into Night, the extravagant dinners in Hall's Barbican flat with Harold Pinter, Jonathan Miller and the other associates, the opening of the new building, and Blakemore's brave and misrepresented decision to speak out. He would not return to the National for fifteen years.
Looks at the life and music career of prominent soul singer Wilson Pickett, chronicling the performer's rise to stardom and his self-destructive fall into alcohol and drug addiction before ending his career on a high note with a Grammy-nominated album.
Since Odysseus' curious crew first unleashed the bag of winds gifted him by Aeolus, the God of Winds, literature has been awash with tales of bad or strange weather. From the flood myths of Babylon, the Mahabharata and the Bible, to 20th century psychological storms, this foray into troubled waters, heat waves, severe winters, hurricanes, and hailstones, offers the perfect read on a rainy day--or night. Featuring a selection of some of the finest writers in the English language--Algernon Blackwood, Herman Melville, Robert Louis Stevenson, Edgar Allan Poe, and more--this collection of weird tales will delight and disturb.
The year 2008 marks the four hundredth anniversary of the first publication of King Lear, and for four centuries the play has remained a consummate bibliographical mystery. Winner of the 2007 Jay L. Halio prize for best manuscript in Shakespeare studies, Shakespeare in Shorthand demonstrates that many textual anomalies derive from the play's transcription in Elizabethan shorthand. The shorthand system of John Willis, Stenographie (1602), shows a high correlation with the unusual textual features found in the first quarto of Lear (1608). The patterns of variants in the quarto conform to Willis' rules regarding the reduction of diphthongs and digraphs and the omission of aspirated, doubled, or unsounded letters. In the past two decades the textual interrelation of quarto and folio (1623) Lear has proven one of the most contested issues in Shakespearean studies, and an examination of Stenographie reveals that some of these textual differences result not from authorial revision, but from transmission in abbreviated writing. Bibliographical evidence also indicates that some textual omissions from the folio version are neither authorial nor theatrical, but derive from the printing house.
17 year old actress Kelly Winslow thinks that playing the role of the fairy queen Titania in a production of Shapespeare's Midsummer Night's Dream could be her lucky break-if she can pull it off.