“A western romance true to the enchanting landscape of New Mexico and as fired with sexual tension as a starry western sky.” —RT Book Reviews New Mexico Territory, 1879. Will Radnor has never stopped looking for Charles Martin Kane, the man who murdered his father back in Philadelphia. Following the first good lead he’s had in years, Will accepts a position with a law firm in Santa Fé. But in Chimayo, a golden-haired cowgirl dressed like Billy the Kid climbs into the stagecoach and changes his life forever. Then he learns her name. Priscilla McCain has realized her dream to become the best danged cowgirl in New Mexico Territory, following in the boot steps of her beloved father, Charlie McCain . . . otherwise known as Charles Martin Kane. Greenhorn lawyers aren’t usually Priscilla’s type. But Will is tall and handsome, and soon even wild horses can’t keep them apart. As Will’s love for Priscilla grows, he knows the time will come when she must choose between him and her father, and either choice will be disastrous for everyone. With justice finally in sight, can he forego his revenge for the woman he loves?

Examines the accomplishments and mistakes made by George Washington, discussing why he was sensitive to criticism and slow to accept blame, but still managed to envision a free and united America.

A silver mining heiress and a Texas Ranger find love on the run in this epic tale of romance and high adventure “bursting with the flavor of Mexico” (RT Book Reviews). Aurelia Mazón is determined to escape her high-mountain town and head for the big city—even though her father owns the town silver mine. When he vows to send Aurelia and her mother to Guanajuato if the silver thefts continue, Aurelia sets a plan in motion to make her dreams come true. But just when her plan begins to work, the unthinkable happens: a handsome Texas lawman is arrested for the thefts. Desperate to keep her big city dreams alive, Aurelia has no choice but to break the gringo out and escape with him into the Sierra Madres, where sparks fly between the two strong-willed strangers. Chased through the Sierras by the Federales, Carson Jarrett realizes that his budding, passionate romance with Aurelia cannot come to pass: the Mazón family will never allow her to marry a gringo. But Aurelia’s indomitable spirit say otherwise—and Carson has never met a woman he believes in more. “[Vivian Vaughan] can always be counted on to deliver a moving, tender romance.” —Affaire de Coeur

Sir Alan Muir Wood sits in the pantheon of great civil engineers of the twentieth century. In Civil Engineering in Context, Sir Alan Muir Wood draws from his long career to place as he says 'civil engineering in context'. The book contains many personal reminiscences of his life as an engineer from early days as a wartime marine engineer in the Royal Navy, through his more than 25 year career as a Partner and Senior Partner with Halcrow and as a tunnelling engineer of world renown. Civil Engineering in Context also presents Sir Alan's strongly held and sometimes controversial views on how civil engineering as an industry has developed since the pragmatic enterprise of the nineteenth century, through a twentieth century where much of the momentum was lost, and how it should be developing in the twenty-first century. Sir Alan ranges across many topics which directly affect the role of the engineer, including management and the law, systems and design, and ethics and politics. He also discusses his contribution and the wider aspects to some of the major projects of the twentieth century such as the Channel Tunnel. Civil Engineering in Context provides an enlightening insight into the civil engineer and civil engineering through the eyes of one of it most eminent protagonists.

The first book to be dedicated to the topic, Patronage and Italian Renaissance Sculpture reappraises the creative and intellectual roles of sculptor and patron. The volume surveys artistic production from the Trecento to the Cinquecento in Rome, Pisa, Florence, Bologna, and Venice. Using a broad range of approaches, the essayists question the traditional concept of authorship in Italian Renaissance sculpture, setting each work of art firmly into a complex socio-historical context. Emphasizing the role of the patron, the collection re-assesses the artistic production of such luminaries as Michelangelo, Donatello, and Giambologna, as well as lesser-known sculptors. Contributors shed new light on the collaborations that shaped Renaissance sculpture and its reception.