Rubem of No-Man's Land was content keeping to his wine, his pets, and his extensive collection of fishnets. But since a sentient, fuel-producing parasite bonded to his brainstem, every morally-depraved scientist and hardcore rebel for a hundred miles wants to ruthlessly dissect him. The parasite itself is no better, influencing his emotions and sassing him with his own memories as it slowly takes over his body. The only person offering Rubem help is Tavish K. Findlay, a dashing and manipulative philanthropist whose mother's fuel company monopolizes their corrupt underwater city with an iron claw. She desperately wants to tear Rubem apart for the parasite before those who oppose her can do the same. Her son is irresistibly charismatic though, and after a lifetime of being kicked out and disavowed, Rubem is desperate to believe in the friendship Tavish offers. With revolutionary plots and political schemes tangling his every choice, Rubem must soon decide whether or not to trust Tavish in his fight against the parasite's growing control. Odder Still is a M/M fantasy novel with a biracial and class-crossing slow burn romance, murderous intrigue, and a Marvel's Venom-style parasite-human relationship in an underwater steampunk city. It is the first in a series, each with a romantically fulfilling ending and a final HEA, with steamy thoughts and foreplay but no explicit sex. (Content warnings for alcohol consumption and animal death.)

Getting Out - Excerpts from a Cat's Diary is the first book in a trilogy of at least four books (according to the author). Translated from the original Cat by John Woodcock. It is a humorous 'diary' where 'Bridget Jones' meets 'The Great Escape' head on. The escapee is a domestic cat who believes that he is a great diarist and describes, in his own words, his almost daily escape attempts. Over 400, yes four hundred pages of laughter!

I don't much like working for clients. It means that I have to follow someone else's instructions, and I've never been too good at that. When those instructions came from a spirit guide at a seance, I just had to laugh. Well, you would, wouldn't you? The rather attractive young woman whose husband the spook had said I should help her to fine took me on a quest that turned into a trail of lucrative antiques deals, spoiled only when the police came plodding in and I found myself up to my neck in forgeries and murders. Situation normal, really. Then the killer turned his attentions to me, just as the spirit had said he would, and I certainly wasn't laughing an more.

From the author of The Inheritance and Secret Relations comes a Romeo and Juliet tale centering on a wonderful old English ancestral home that had once been a Cistercian abbey. Almost a year on from the loss of their precious abbey, the Delancey family remains devastated. The abbey had been the uninterrupted home of Delanceys since the sixteenth century. To compound the insult, they have lost it to their archenemies: the family of their old gardener, Stanley Trafford---who was dismissed and evicted, along with his family, by Laura's grandfather Edmund in 1947. But now Stanley's son is a millionaire, intent on avenging his father. . . . Stanley Trafford and Edmund Delancey were boyhood friends. When both men married, just before the war, the couples became inseparable, with the two women---Hester and Effie---offering comfort to each other while their husbands fought in the same regiment. So what really happened on that fateful morning in 1947, to poison their friendship for nearly forty years? This magical story follows two warring families---the Traffords and the Delanceys---over the course of one devastating year, in which old secrets catch them up and turn everything upside down.

In this provocative study Rose Zimbardo examines a crucial revolution in aesthetics that took place in the late seventeenth century and that to this day dominates our response to literature. Although artists of that time continued to follow the precept "imitate nature," that nature no longer corresponds to the earlier understanding of the term. What had been in essence an allegorical mode came to be a literal one. Focusing on the drama of the period as an exemplary form, Zimbardo shows how it moved from depicting a metaphysical reality of idea to portraying an inner reality of individual experience. But drama is constrained in expressing the inner experience since its medium is limited to human action. The novel arose to replace drama as the popular literary form, Zimbardo argues, because it could better and more freely convey man's inner world and thereby imitate the "new" nature. The study concluded that the changes which took place in drama during this period and which led to the invention of the novel resulted not from any "change of heart" or sensibility but from a fundamental change in the understanding of the nature which art was thought to imitate. Neither the drama of the 1690s nor the early novel, Zimbardo finds, was in the least "sentimental." A Mirror to Nature brings a new critical perspective to bear on literary developments at the end of the seventeenth century—one that must be considered by critics and historians of the period.