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FROM EXCITING ROMANCE AUTHOR HANNAH MURRAY Book four in the Perfect Taboo series Never make a bet with a Dom... It' s a bad idea under any circumstances, and when the Dom is Jack— a sadist with a perpetual frown and no discernible sense of humor— it' s a really bad idea. But backing down isn' t in Sadie' s DNA, and by the time her self-preservation instincts kick in, it' s too late— she' s lost the bet and owes Jack a scene. Jack' s been waiting for a chance to have Sadie all to himself from the moment he saw her, but the timing' s never been right. Now, thanks to her sassy mouth overriding her common sense, his patience is paying off. She owes him a scene, and he intends to collect. But one scene does not a relationship make, and Jack wants Sadie for more than an occasional play partner— he wants her as his lover, his partner... and his submissive. Problem is Sadie' s not interested in serious, and showing his cards too soon could send her running. If he' s going to win the day— and the girl— he' ll have to play his hand at just the right time. If he doesn' t overplay it first.
Have you ever thought what the world would be like if I didn't carry that sack and make that sleigh ride each year? I know one thing; there wouldn't be a need for a Naughty and Nice list anymore. Can you imagine all those children and their sad little faces? I could never give up this cause because the children are so angelic with those bright and cheery smiles when they look at you or the presents you leave on Christmas morning. -- Santa Claus
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
“Phartom of the Opera – A Classic of the Gasses” was a witty and fun written book by Frank A. Pellegrino. Frank was 82 years old when he finished this book and as he so often said, he hoped all who would read this book would not be offended and would enjoy the laughter so many appreciate about Mother Nature and her gastric processes in our bodies. We all at some point in our daily lives experience excessive gas in our stomachs and while some find this disgusting others find very funny. This book “Captain Pharto Disciplines the Brats” is a take off sequel of the return to “Phartom of the Opera – A Classic of the Gasses” You see, writer friends of Aliceanne Pellegrino-Henricks liked to play with Sticks, Bricks and play terrible tricks. Various disciplines on Earth had been applied, but the writer brats became incorrigible and Granny Aliceanne tried out many forms of discipline. When all seemed to fail, Granny Aliceanne went to Captain Pharto and asked for his help in a different kind of discipline. So enjoy your Pharto Blasto Flights throughout the Universe and perhaps you may want to wear a mask while reading. Since Frank passed away December 3, 2006 and was not able to complete his Pharto Blasto Missions with these brats. His widow, Aliceanne agreed to write the finishing episodes and hopefully while disciplining the brats in each episode they will entertain you and bring you much laughter. All the episodes are entertaining and of course untrue and the brats unharmed.
Luminaries of the Harlem Renaissance--Langston Hughes, Jean Toomer, Wallace Thurman, and Arna Bontemps, among others--are associated with, well . . . Harlem. But the story of these New York writers unexpectedly extends to the American West. Hughes, for instance, grew up in Kansas, Thurman in Utah, and Bontemps in Los Angeles. Toomer traveled often to New Mexico. Indeed, as West of Harlem reveals, the West played a significant role in the lives and work of many of the artists who created the signal urban African American cultural movement of the twentieth century. Uncovering the forgotten histories of these major American literary figures, the book gives us a deeper appreciation of that movement, and of the cultures it reflected and inspired. These recovered experiences and literatures paint a new picture of the American West, one that better accounts for the disparate African American populations that dotted its landscape and shaped the multiethnic literatures and cultures of the borderlands. Tapping literary, biographical, historical, and visual sources, Emily Lutenski tells the New Negro movement's western story. Hughes's move to Mexico opens a window on African American transnational experiences. Thurman's engagement with Salt Lake City offers an unexpected perspective on African American sexual politics. Arna Bontemps's Los Angeles, constructed in conjunction with Louisiana, provides a new vision of the Spanish borderlands. Lesser-known writer Anita Scott Coleman imagines black Western autonomy through domesticity. The experience of others--like Toomer, invited to socialite Mabel Dodge Luhan's circle of artists in Taos--present a more pluralistic view of the West. It was this place, with its transnational and multiracial mix of Native Americans, Latina/os, Anglos, and African Americans, which buttressed Toomer's idea of a "new American race." Turning the lens elsewhere, Lutenski also explores how Latina/o, Asian American, and Native American western writers understood and represented African Americans in the early twentieth-century borderlands. The result is a new, unusually nuanced and unexpectedly complex view of key figures of the Harlem Renaissance and the borderlands cultures that influenced their art in surprising and important ways.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.