Mi Latina: The Bloody Romance By: King Tremayne Mi Latina: The Bloody Romance is an extremely cautionary tale of a man named Steve Davis, born and raised in the U.S. murder capital: Chicago, Illinois. He decides to trade the rough life of Chicago’s Northside ghetto, for a perceived family life in Colombia, only to fall madly in love (at first sight), with one Sonrisa Ciela Jerez, only to find she has a dreadfully sordid past that involves one of the most notoriously vindictive drug lords who may have ever walked the face of the earth. Steve quickly finds himself staunchly defending this woman, immediately starting a war with drug lord Vibora, in the first and only attempt to avenge the wrongs that the love of his life, Sonrisa, suffered at the hands of this monster.

Ulises quiere ser titiritero. Para ello, realiza un viaje al mundo de los títeres: ansía conocer a Lorca, a Villafañe y a todos los grandes maestros del teatro de muñecos. Su camino será difícil: deberá vencer las duras pruebas a las que lo somete el Diablo. Ante cada paso, un nuevo obstáculo que enfrentar, y la posibilidad, a la vez, de alcanzar sus sueños. De eficaz dramaturgia y con referentes intertextuales en función de la puesta en escena, esta obra de teatro aborda grandes temas —la mediocridad, la hipocresía, el facilismo, la ignorancia— con elegancia y sutileza, a la vez que con dinamismo, ironía y humor, y constituye, sobre todo, un homenaje a los maestros titiriteros y al teatro de títeres de todos los tiempos.

When he got paid $500 up front to help an ex-Mexican viceroy get to California, Skye Fargo knew that he was in for a rough ride--and someone already has the Trailsman in their sights.

The time period of 1990-2010 marks a significant moment in Spanish literary publishing that emphasized a new focus on Africa and African voices and signaled the beginning of a publishing boom of Hispano-African authors and themes. Africa in the Contemporary Spanish Novel, 1990-2010 analyzes the strategies that Spanish and Hispano-African authors employ when writing about Africa in the contemporary Spanish novel. Focusing on the former Spanish colonial territories of Morocco, Western Sahara, and Equatorial Guinea, Mahan L. Ellison analyzes the post-colonial literary discourse about these regions at the turn of the twenty-first century. Heexamines the new ways of conceptualizing Africa that depart from an Orientalist framework as advanced by novelists such as Lorenzo Silva, Concha López Sarasúa, Ramón Mayrata, and others. Throughout, Ellison also places the novels within their historical context, specifically engaging with the theoretical ideas of Edward Said’s Orientalism (1978), to determine to what extent his analysis of Orientalist discourse still holds value for a study of the Spanish novel of thirty years later.

Since the beginning of time, the angelic hosts of the High Heavens and the demonic hordes of the Burning Hells have been locked in a struggle for the fate of all Creation. That struggle has now come to the mortal realm...and neither Man nor Demon nor Angel will be left unscathed.... Legend speaks of a long-dead city known as Ureh, thought by many to have been a gateway to the High Heavens. It is believed that every two thousand years, when the stars align and the shadow of Mount Nymyr falls upon the ruins, Ureh is reborn -- and all its lost riches are revealed to those brave enough to seek them out. Now, after a lifetime of research and intense calculation, the Vizjerei sorcerer, Quov Tsin, has come to witness Ureh's rebirth for himself. But that which awaits Tsin and his hired band of mercenaries is nothing like what they expected. They will find that the dream of radiant Ureh is, in fact, a twisted nightmare of horror -- one that will draw them inexorably into The Kingdom of Shadow An original tale of swords, sorcery, and timeless struggle based on the bestselling, award-winning M-rated computer game from Blizzard Entertainment. Intended for mature readers.

Delve deeper into the dark fantasy world of the Diablo universe as Deckard Cain shares history and lore in this fictional illustrated journal. In Blizzard Entertainment’s Diablo® and Diablo II, the recurring character of Deckard Cain delivered quests, accompanied the brave adventurer, and, as the last of the Horadrim, provided a link to the greater history of the world of Sanctuary. Ever mysterious during these appearances, Cain hinted at a larger story, providing snippets of it in his notebook. Diablo III: Book of Cain is Cain’s formal record of this greater tale—a dissertation on the lore of the Diablo universe, told by one who has witnessed and participated in some of the epic events that make up the eternal conflict between the High Heavens and the Burning Hells. Designed as an “in-world” artifact from the Diablo universe, Diablo III: Book of Cain includes Cain’s revealing meditations, as well as dozens of sketches and color artworks depicting the angelic and demonic beings who wage constant war with one another.