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Someone once said maybe sometimes, you have to know the darkness before you can appreciate the light... Kay, who is better known as Khem, disappeared from her life three years ago, without a trace, moving around until she settled about one hour from her hometown. Her life had spiraled out of control, and she felt as if no one was in her corner, but her friend Angie was right there all along. Her appetite for a man had depleted until she laid eyes on Denver “Sneak” Laurent. Sneak is now head of the Laurent family business of distributing. Sneak’s cockiness and way of thinking are what gave him the title. Since he is head in charge, he now has to meet with a secret group of people who run the state. His life is hectic—keeping up his pharmacy, juggling all of his women and business—until one chance encounter with Kay turns his world upside down. Dallas is the oldest of the clan but the deadliest when pushed. His professional life is flourishing, but his personal life is in shambles. After finding out his wife wasn’t what he thought she was, he files for divorce, but she’s not ready to give up just yet, with his assistant lurking in the background. Being the youngest and the prettiest out of the bunch, Austin, also known as Lux, is considered the baby, but he takes no shit. A person from his past pops up unannounced, and he is ready to put them out of their misery while protecting the woman he loves the most at the same time. One thing that they all have in common is that no one wants them to be on top. Enemies are coming at all angles, trying to tear the Laurent dynasty down. Will they survive the mishaps, or will they all fall victim to deceit?
Just because your life is falling apart around you doesn’t mean you have to fall apart. After watching her best friend get run over, Kay is left feeling, once again, lonely, but she doesn’t let the chaos around her get inside her head. But she can’t keep Sneak out of her mind even if she tried. With his brother being hurt, his pharmacy expanding, and enemies shooting at him, Sneak tries not to dwell on the fact that Kay has disappeared. He knows that what’s done in the dark always come to light. Even though his mind is telling him to let her be, Sneak’s heart is telling him another thing. Months after the accident, Angie and Craze adjust to their new situation. In the back of both of their minds, the shadow of the enemy is still following them. Angie finds out that her beautiful secret may be closer than she thinks, but when Craze discovers it, it could be more than he can handle. Khai, Kay’s sister, moves back and is in for a big surprise. Her attention is taken by another Laurent man, and he’s not one to give up. A chance interaction leads to a new friendship in the time of need for Lux as he uncovers the evidence that can shake the family to the core. When you throw a savage to the wolves, he always comes back leading the pack. Will the Laurent family survive once the enemy shows their hand, or will they already be a step ahead of them?
Vols. 1-3 paged continuously. Vol. 4 by W.G. Sumner, A.G. Keller, and M.R. Davie."Published under the auspices of the Sumner Club on the foundation established in memory of Philip Hamilton McMillan of the class of 1894, Yale College." "Bibliographical note": v. 4, p. [1193]-1268.
Film Studies. Asian Studies. Kim Ki-young is often acclaimed as an auteur whose films seem to contain new scenes every time you watch them. Though he was a leading director with unique artistic style and provocative themes in the 1960s, the first Golden Age of Korean films, he went into a long slump with the stagnation of the Korean film industry after the 70s and his films became almost forgotten. It was emerging cinephiles of early 90s that "rediscovered" him and his works. Kim's unfamiliar, strange and subversive films made deep impressions on these cinephiles, some of whom have become major figures representing Korean films today such as Park Chan-wook and Bong Joon-ho. Also international film circles began paying attention to Kim through the Retrospective at the Pusan International Film Festival in 1997. This book is a collaborative work of leading film critics under the editorship of Kim Hong-joon, who is a film director himself and has organized international retrospectives on the old master. As the first English book on Kim Ki-young, it will serve as a guiding light that focuses more eyes on Kim Ki-young and the classical films of Korea.