From New York Times bestselling author Catherine Anderson comes the second novel in the Comanche series—a stirring story of courage, passion, and unforgettable love... Years ago, Amy Masters escaped the fury of the Texas plains for a new life as a teacher in the golden hills of Oregon, where she found contentment—if not happiness. Then, out of the shadows, comes Swift Antelope, the Comanche warrior to whom she once pledged her heart when she was no more than a girl. Claiming that he’s given up his violent ways as a gunslinger, Swift has arrived to take the woman he feels is rightfully his, the woman who once swore to honor a sacred and unbreakable pact. But Amy’s brutal past has made it impossible for her to trust any man—even if it’s the bold warrior who has haunted her dreams, the only man she ever loved, the Comanche heart she can’t live without.

Ex-cavalry officer Matthew Hanger leads a band of mercenaries who defend the innocent, but when a rustler's bullet leaves one of them at death's door, they seek out help from Dr. Josephine Burkett.

For the better part of three decades romance comics were an American institution. Nearly 6000 titles were published between 1947 and 1977, and for a time one in five comics sold in the U.S. was a romance comic. This first full-length study examines the several types of romance comics, their creators and publishing history. The author explores significant periods in the development of the genre, including the origins of Archie Comics and other teen publications, the romance comic "boom and bust" of the 1950s, and their sudden disappearance when fantasy and superhero comics began to dominate in the late 1970s.

"Americans have treated the highway as sacred space," says Primeau (English, Central Michigan U.) introducing the rich tradition of prose and non-fiction road narratives that include On the Road, Grapes of Wrath, Even Cowgirls Get the Blues, and the Journals of Lewis and Clark. Primeau critically examines these and other works from the position of travel as pilgrimage resulting in identifiable themes of protest, self discovery, picaresque parody, and myth making. Paper edition (unseen), $17.95. Annotation copyright by Book News, Inc., Portland, OR

Megan Carey was ready to embark on a trip to Europe, finally taking time to do something purely for herself, but when she finds her father on the brink of suicide, her plans go out the window. Her father is being blackmailed by a reclusive genius who’s demanded TK Carey show up to answer for his crimes. Panicked, Megan volunteers to go in his place. Ethan Winslowe is a brilliant, eccentric architect with a grudge. In his odd, rambling mansion, he waits for Megan’s father to enact his revenge, but when Megan comes in his stead, Ethan has a new prisoner to answer for the crimes. At first, Megan is afraid of the strange, dark man who tormented her father with threats of public ruin. Ethan is mysterious and deeply secretive, refusing to allow himself to be seen in the light of day. But soon, Megan’s fear is replaced by curiosity and a desire to see the man who haunts her dreams, and even as she’s kept prisoner she’s drawn to him, obsessed by him, on the edge of falling in love with a phantom. Is there any way she can learn to trust a creature of darkness before the outside forces of evil destroy them both?

Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text. Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television. "We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect. The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance. These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination. In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

Set against the bitter frontier strife between Texans and the Comanche, Texas Rangers Gus McCrae and Woodrow Call battle Buffalo Hump, the enigmatic war chief, and Gus' long-time nemesis, Blue Duck.