For venture capitalist Adam Sutherland, reopening Camp Winnehatchee was a no-brainer.

Cassie's tips for the Perfect Christmas Fling! 1. 'Tis the season to be daring: Find the perfect Mr. Right Now (extra points for a bad-boy-turned-billionaire) and be brave about getting him—even if that means jumping straight into sexy Jace Ryan's car! 2. Enjoy the ride: Once you've chosen your man, get swept away by the moment! For once, Cassie's determined to stop worrying about the future, but she must remember one thing… 3. This fling is just for Christmas: Jace Ryan's a seasonal special. Do not start falling for him, Cassie, no matter how perfect the package or how much you've enjoyed unwrapping it.…

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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.

The journal of a 14-year-old girl, kept the last year she lived on the family farm, records daily events in her small New Hampshire town, her father's remarriage, and the death of her best friend.

One of the most beloved novels of all time, Colleen McCullough's magnificent saga of dreams, struggles, dark passions, and forbidden love in the Australian outback has enthralled readers the world over. The Thorn Birds is a chronicle of three generations of Clearys—an indomitable clan of ranchers carving lives from a beautiful, hard land while contending with the bitterness, frailty, and secrets that penetrate their family. It is a poignant love story, a powerful epic of struggle and sacrifice, a celebration of individuality and spirit. Most of all, it is the story of the Clearys' only daughter, Meggie, and the haunted priest, Father Ralph de Bricassart—and the intense joining of two hearts and souls over a lifetime, a relationship that dangerously oversteps sacred boundaries of ethics and dogma.