A ring of braided grass. A promise. Ten years of separation. And memories of an innocent love with the power to last through time. When Luca Ward was five years old, he swore he would love Imre Claybourne forever. Years later, that promise holds true-and when Luca finds himself shipped off to Imre's North Yorkshire goat farm in disgrace, long-buried feelings flare back to life when he finds, in Imre, the same patiently stoic gentle giant he'd loved as a boy. The lines around Imre's eyes may be deeper, the once-black night of his hair silvered to steel and stone...but he's still the same slow-moving mountain of a man whose quiet-spoken warmth, gentle hands, and deep ties to his Roma heritage have always, to Luca, meant home. The problem? Imre is more than twice Luca's age. And Luca's father's best friend. Yet if Imre is everything Luca remembered, for Imre this hot-eyed, fey young man is nothing of the boy he knew. Gone is the child, replaced by a vivid man whose fettered spirit is spinning, searching for north, his heart a thing of wild sweet pure emotion that draws Imre into the compelling fire of Luca's frustrated passions. That fragile heart means everything to Imre-and he'll do anything to protect it. Even if it means distancing himself, when the years between them are a chasm Imre doesn't know how to cross. But can he resist the allure in cat-green eyes when Luca places his trembling heart in Imre's hands...and begs for his love, over and over again?

At first glance, 27-year-old Dionni Stone, owner of Whateva You Like Entertainment seems to have what all black women desire: natural beauty, a successful business, and a beautiful black man on her side. But once again, Dionni finds the love of her life in a compromising situation. This is the final heart break. Dionni decides to concentrate on her business, and it's there she meets new client, Xavier "Zay" Grey, an investment banker that hires her to plan a surpise graduation party for his baby sister. Again, Dionni begins to think she might have found "the one" for her, but a devastating secret finds her world once again shaken--P. [4] of cover

Mathematical theme that relates chaos, graphics and geometry, all with just high school maths background.

A prescription for recovery from obsessive-compulsive disorder, this new paperback combines the latest in scientific knowledge with case histories and practical suggestions for self-help, offering new hope to those touched by this insidious and widespread malady. The authors have distilled their years of research, experimentation, and practice into a readable how-to manual.

On Repeat offers an in-depth inquiry into music's repetitive nature. Drawing on a diverse array of fields, it sheds light on a range of issues from repetition's use as a compositional tool to its role in characterizing our behavior as listeners, and considers related implications for repetition in language, learning, and communication.

‘The year’s seasonal changes and festivities that are important in a little child’s life are imaginatively [described]. . . . The story ends with the happy realization that it will all come round ‘over and over’ again.’ —H.

Over the last twenty years, reenactment has been appropriated by both contemporary artistic production and art-theoretical discourse, becoming a distinctive strategy to engage with history and memory. As a critical act of repetition, which is never neutral in reactualizing the past, it has established unconventional modes of historicization and narration. Collecting work by artists, scholars, curators, and museum administrators, the volume investigates reenactment's potential for a (re)activation of layered temporal experiences, and its value as an ongoing interpretative and political gesture performed in the present with an eye to the future. Its contributions discuss the mobilization of archives in the struggle for inclusiveness and cultural revisionism; the role of the body in the presentification and rehabilitation of past events and (impermanent) objects; the question of authenticity and originality in artistic practice, art history, as well as in museum collections and conservation practices.