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Billionaire Oscar Balfour’s daughters are the darlings of the tabloid press – so it’s no surprise that the arrival of an illegitimate Balfour girl sends the gossip columns wild! Mia needs to learn the gilt-edged ways of his world fast. Brooding Greek tycoon Nikos takes her on as his personal assistant. Can he come to her rescue?
ONE KISS WAS NEVER ENOUGH… With her creamy skin, sultry eyes and luscious mouth, Carrie Whelan was ripe for the plucking, and Ry Evans was starving for a taste of her! Still, he wasn't about to ravish his best friend's virginal baby sister, no matter how appetizing she looked. It was his job to keep her out of trouble and safe from predatory males. But there was only so much one cowboy could take, especially when Carrie's little crush on Ry exploded into passion, and Ry staked his claim on her—body, heart and soul!
Breathless for the Bachelor by Cindy Gerard With her creamy skin, sultry eyes and luscious mouth, Carrie Whelan was gorgeous and Ryan was starving for a taste of her! Still, he couldn’t ravish his best friend’s virginal baby sister. It was his job to keep her safe from predatory males.
Pamela Gillilan was born in London in 1918, married in 1948 and moved to Cornwall in 1951. When she sat down to write her poem Come Away after the death of her husband David, she had written no poems for a quarter of a century. Then came a sequence of incredibly moving elegies. Other poems followed, and two years after starting to write again, she won the Cheltenham Festival poetry competition. Her first collection That Winter (Bloodaxe, 1986) was shortlisted for the Commonwealth Poetry Prize.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
Michelle Reid is a bestselling Modern author, loved for her intensely passionate romances. Containing a winning combination of 18 glamorous, exciting and sophisticated stories, this collection is set to become a firm reader favourite. Includes...