New York Times bestselling author Sarah MacLean returns with a blazingly sexy, unapologetically feminist new series, Hell’s Belles, beginning with a bold, bombshell of a heroine, able to dispose of a scoundrel—or seduce one—in a single night. After years of living as London’s brightest scandal, Lady Sesily Talbot has embraced the reputation and the freedom that comes with the title. No one looks twice when she lures a gentleman into the dark gardens beyond a Mayfair ballroom…and no one realizes those trysts are not what they seem. No one, that is, but Caleb Calhoun, who has spent years trying not to notice his best friend’s beautiful, brash, brilliant sister. If you ask him, he’s been a saint about it, considering the way she looks at him…and the way she talks to him…and the way she’d felt in his arms during their one ill-advised kiss. Except someone has to keep Sesily from tumbling into trouble during her dangerous late-night escapades, and maybe close proximity is exactly what Caleb needs to get this infuriating, outrageous woman out of his system. But now Caleb is the one in trouble, because he’s fast realizing that Sesily isn’t for forgetting…she’s forever. And forever isn’t something he can risk.

Between 1985 and 2008, female suicide bombers committed more than 230 attacks—about a quarter of all such acts. Women have become the ideal stealth weapon for terrorist groups. They are less likely to be suspected or searched and as a result have been used to strike at the heart of coalition troops in Iraq and Afghanistan. This alarming tactic has been highly effective, garnering extra media attention and helping to recruit more numbers to the terrorists' cause. Yet, as Mia Bloom explains in Bombshell: Women and Terrorism, female involvement in terrorism is not confined to suicide bombing and not limited to the Middle East. From Northern Ireland to Sri Lanka, women have been engaged in all manner of terrorist activities, from generating propaganda to blowing up targets. What drives women to participate in terrorist activities? Bloom—a scholar of both international studies and women's studies—blends scrupulous research with psychological insight to unearth affecting stories from women who were formerly terrorists. She moves beyond gender stereotypes to examine the conditions that really influence female violence, arguing that while women terrorists can be just as bloodthirsty as their male counterparts, their motivations tend to be more intricate and multilayered. Through compelling case studies she demonstrates that though some of these women volunteer as martyrs, many more have been coerced by physical threats or other means of social control. As evidenced by the March 2011 release of Al Qaeda's magazine Al Shamikha, dubbed the jihadi Cosmo, it is clear that women are the future of even the most conservative terrorist organizations. Bombshell is a groundbreaking book that reveals the inner workings of a shocking, unfamiliar world.

After 56 years, Stenn persuaded Harlow's family, friends, colleagues and employers to break their silence and provide previously sealed legal, financial and medical records, which solved the mystery of her death. His account is confirmed by scores of exclusive interviews with eyewitness sources.

Teddy Fay returns to La-La Land in the latest thriller from #1 New York Times-bestselling author Stuart Woods. Teddy Fay is back in Hollywood and caught in two tricky situations. First, a rising star at Centurion becomes the target of malicious gossip, and Teddy must find and neutralize the source before the situation gets out of hand--or becomes violent. At the same time, Teddy finds himself targeted by a criminal thug bearing a grudge. It's a lot of knives to juggle, even for a former-CIA-operative-turned-movie-producer accustomed to hazardous working conditions. This time Teddy will need to leverage every bit of his undercover skills and fearless daring to stay one step ahead of his foes . . . or he'll find himself one foot in the grave.

A two-toned, three-taloned claw paw has been sprawled in aerosol across walls around the world since the early 1990s. One of the first writers to use an icon as her throw up, CLAW is of the rarest breed: the female graff King. Not content just to beat the boys at their own game, CLAW also designs her own clothing line, Claw Money, as well as a jewellery and accessory line, literally creating her own street style. Bombshell explodes all preconceived notions about the icon many have seen but few have known.

Hollywood bad boy Brad Sinclair always gets his way. But when a dimpled five-year-old from a forgotten relationship gets dropped in his lap, he knows his life is about to change forever. Cara DuMont isn't thrilled when she gets assigned to be the nanny for the latest box-office king. It violates her one rule: no celebrity fathers, especially single ones with devilish good looks and rock-hard abs. As soon as Cara meets Brad and his adorable little girl, she knows she's in for a world of trouble. Because some rules are meant to be broken.

I was Top Gear's script editor for 13 years and all 22 series. I basically used to check spelling and think of stupid gags about The Stig. I also got to hang around with Jeremy Clarkson, Richard Hammond and James May. It didn't feel like something you should get paid for. From the disastrous pilot show of 2002 to the sudden and unexpected ending in 2015, working on Top Gear was quite a rollercoaster ride. We crossed continents, we made space ships, we bobbed across the world's busiest shipping lane in a pick-up truck. We also got chased by an angry mob, repeatedly sparked fury in newspapers, and almost killed one of our presenters. I realised that I had quite a few stories to tell from behind the scenes on the show. I remembered whose daft idea it was to get a dog. I recalled the willfully stupid way in which we decorated our horrible office. I had a sudden flashback to the time a Bolivian drug lord threatened to kill us. I decided I should write down some of these stories. So I have. I hope you like them. And now, a quote from James May: 'Richard Porter has asked me to "write a quote" for his new book about the ancient history of Top Gear. But this is a ridiculous request. How can one "write a quote"? Surely, by definition, a quote must be extracted from a greater body of writing, for the purpose of illustrating or supporting a point in an unrelated work. I cannot "write a quote" any more than I could "film an out-take". 'Porter, like Athens, has lost his marbles.'