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Strong enough to protect her. Bold enough to love her. When good girl Margo Connelly becomes Lamar "Striker" Jennings's latest assignment, she knows she's in trouble. And not just because he's been hired to protect her from an underworld criminal. The reformed bad boy's appeal is breaching all her defenses, and as the threats against her increase, Margo isn't sure which is more dangerous: the gangster targeting her, or the far too alluring protector tempting her to let loose. Though Striker's now living on the right side of the law, he's convinced his troubled past keeps Margo out of his league. But physical chemistry explodes into full-blown passion when they go on the run together. Surrendering to desire could be a deadly distraction—or finally prove that he's the only man qualified to keep her safe, and win her love.
She’s willing to bet the ranch that he can’t resist temptation in this high-risk romance from the author of Nanny Makes Three. Up-by-her-bootstraps Brandee Lawson fought hard to establish Hope Springs Ranch. But a mysterious blackmailer threatens to expose her secret to real estate developer Shane Delgado. She could lose everything, and she can’t let sexy Shane short-circuit her survival instinct! Sure, Shane wants her land, but he can’t help wanting Brandee, as well. When she offers Royal’s most notorious bachelor a winner-takes-all wager in a bid to keep the ranch, it’s the ultimate test. Can he resist her charms—and should he even bother to try when something much deeper than desire surfaces between them? “There’s plenty of intrigue and sensuality going on between Brandee and Shane, but could there be more, like . . . marriage? Find out in the engaging Two-Week Texas Seduction.” —Romance Reviews Today “It’s wonderful! . . . This is a great trip to the Texas heat for a two-week journey.” —Harlequin Junkie
She spent months as a captive…until they set her free. Talya is smart and stubborn…and that’s why she’s spent two months as a prisoner to the mafia. They’ll let her go if she gives them what they want, but Talya would rather die than risk dangerous biochemical information falling into the wrong hands. And she probably will die–after all no one is coming to save her. When the mafia decides to sell her, she assumes a bad situation is only going to get worse. Until she meets her new “master”…and it turns out the auction is the rescue she never dared hope for. Billionaire Henri buys her to save her. It wasn’t the most traditional rescue, but now that she’s in his home, he will do anything to help her. Milo is haunted by the fact that he saw her in chains…and had to leave her as a captive. Now that she’s safe with Henri, he should leave…but he doesn’t want to. Because he’s drawn to Talya and Henri. The betrayal of a friend strikes hard because the mafia isn’t finished with Talya. Desire's Addiction is a threesome romantic suspense. It can be read as a standalone or enjoyed as part of the ongoing Trinity Masters series. Trigger Warning: dubious consent and elements of human trafficking.
1347. Calais has finally fallen and Alaun de Montisfryth, first Earl of Montisfryn, powerful Marcher lord and companion of Edward III, is dispatched back to England with orders to secure the Welsh border. Halfway home, pride tempts Montisfryn to attend a tournament held by his family's old foes at Versallet Castle. Eloise de Versallet, the widowed Lady de Cannar, rules her father's castle with a tongue sharper than any sword. She has no great opinion of men in general and of knights in particular. Montisfryn and Eloise meet and sparks fly. He is intrigued. She is irritated. He is under royal edict to wed. An experienced lady, well-born, still young, and exceedingly well-endowed with both wealth and beauty, Eloise is a matrimonial prize beyond compare--and has vowed to remain unwed. Potent and powerful, will Montisfryn be able to breach her walls, storm her castle, and succeed where all others have failed? Or will Eloise, haughty and defiant to the last, prevail? The gauntlet is flung, the challenge accepted. And desire enters the fray. A Novel of 140,000 words. A medieval historical romance in the classic style, this work contains multiple explicit love scenes. "When it comes to dishing up lusciously sensual, relentlessly readable historical romances, Laurens is unrivalled." Booklist "Laurens's writing shines." Publishers Weekly"One of the most talented authors on the scene today...Laurens has a real talent for writing sensuous and compelling love scenes." Romance Reviews "Stephanie Laurens never fails to entertain and charm her readers with vibrant plots, snappy dialogue, and unforgettable characters." Historical Romance Reviews "Stephanie Laurens plays into readers' fantasies like a master and claims their hearts time and again." Romantic Times Magazine
When the actor Ted Danson appeared in blackface at a 1993 Friars Club roast, he ignited a firestorm of protest that landed him on the front pages of the newspapers, rebuked by everyone from talk show host Montel Williams to New York City's then mayor, David Dinkins. Danson's use of blackface was shocking, but was the furious pitch of the response a triumphant indication of how far society has progressed since the days when blackface performers were the toast of vaudeville, or was it also an uncomfortable reminder of how deep the chasm still is separating black and white America? In Racechanges: White Skin, Black Face in American Culture, Susan Gubar, who fundamentally changed the way we think about women's literature as co-author of the acclaimed The Madwoman in the Attic, turns her attention to the incendiary issue of race. Through a far-reaching exploration of the long overlooked legacy of minstrelsy--cross-racial impersonations or "racechanges"--throughout modern American film, fiction, poetry, painting, photography, and journalism, she documents the indebtedness of "mainstream" artists to African-American culture, and explores the deeply conflicted psychology of white guilt. The fascinating "racechanges" Gubar discusses include whites posing as blacks and blacks "passing" for white; blackface on white actors in The Jazz Singer, Birth of a Nation, and other movies, as well as on the faces of black stage entertainers; African-American deployment of racechange imagery during the Harlem Renaissance, including the poetry of Anne Spencer, the black-and-white prints of Richard Bruce Nugent, and the early work of Zora Neale Hurston; white poets and novelists from Vachel Lindsay and Gertrude Stein to John Berryman and William Faulkner writing as if they were black; white artists and writers fascinated by hypersexualized stereotypes of black men; and nightmares and visions of the racechanged baby. Gubar shows that unlike African-Americans, who often are forced to adopt white masks to gain their rights, white people have chosen racial masquerades, which range from mockery and mimicry to an evolving emphasis on inter-racial mutuality and mutability. Drawing on a stunning array of illustrations, including paintings, film stills, computer graphics, and even magazine morphings, Racechanges sheds new light on the persistent pervasiveness of racism and exciting aesthetic possibilities for lessening the distance between blacks and whites.
What can early Jewish courtroom narratives tell us about the capacity and limits of human justice? By exploring how judges and the act of judging are depicted in these narratives, Trial Stories in Jewish Antiquity: Counternarratives of Justice challenges the prevailing notion, both then and now, of the ideal impartial judge. As a work of intellectual history, the book also contributes to contemporary debates about the role of legal decision-making in shaping a just society. Chaya T. Halberstam shows that instead of modelling a system in which lofty, inaccessible judges follow objective and rational rules, ancient Jewish trial narratives depict a legal practice dependent upon the individual judge's personal relationships, reactive emotions, and impulse to care. Drawing from affect theory and feminist legal thought, Halberstam offers original readings of some of the most famous trials in ancient Jewish writings alongside minor case stories in Josephus and rabbinic literature. She shows both the consistency of a counter-tradition that sees legal practice as contingent upon relationship and emotion, and the specific ways in which that perspective was manifest in changing times and contexts.
Eugene W. Holland provides an excellent introduction to Gilles Deleuze and Felix Guattari's Anti-Oedipus which is widely recognized as one of the most influential texts in philosophy to have appeared in the last thirty years. He lucidly presents the theoretical concerns behind Anti-Oedipus and explores with clarity the diverse influences of Marx, Freud, Nietzsche and Kant on the development of Deleuze & Guattari's thinking. He also examines the wider implications of their work in revitalizing Marxism, environmentalism, feminism and cultural studies.