He might be the perfect model, but is he the right man for Scarlett? When up-and-coming artist Scarlett Ash discovers the perfect model in small-town Levenham, she can’t believe her luck. Her creativity abandoned her months ago and with her move to London to take up a prestigious residency fast approaching, she’s desperate for a muse to bring it back. Surfing dairy farmer Sam Greenwood is delivering milk when a gorgeous girl accosts him. Charmed by her invitation to model for a painting, Sam wants to say no. While Scarlett might be stunning, she’s arty-farty weird, and he’s flat out with his growing dairy business. Somehow, though, he can’t resist. As Scarlett struggles to find her way with her new work, Sam becomes determined to help. Scarlett is smart, talented and sympathetic to the unremitting toil of dairy farming, and they’re both healing from failed relationships. Soon burgeoning friendship blossoms into so much more. Knowing that London beckons and her time in Levenham is short, Scarlett resists the lure of love. She has no plans to return to Levenham, and big-hearted Sam deserves more than a brief fling followed by a quick goodbye. Except as their affair deepens, how can she leave the man who’s not only given her back her passion but her heart?

If looks could kill¡­ And in the case of Scarlett Couture, they really can! Walking a razor¡¯s edge between glamorous supermodel and lethal CIA operative, Scarlett is the ultimate femme fatale ¨C as beautiful as she is dangerous, as smart as she is tough! And she¡¯ll need all her skills and talents for her newest, most-explosive case! Kidnapped supermodels, shark-infested wrecks, blistering gun battles, and little black dresses ¨C Operation Stardust has it all! Collects Scarlett Couture #1-4

Discover the phenomenal #1 bestselling sequel to Gone With the Wind: "true to Scarlett's spirit," this inventive novel beautifully continues Margaret Mitchell's timeless tale (Chicago Tribune). The most popular and beloved American historical novel ever written, Gone With the Wind is unparalleled in its portrayal of men and women at once larger than life but as real as ourselves. Now Alexandra Ripley brings us back to Tara and reintroduces us to the characters we remember so well: Rhett, Ashley, Mammy, Suellen, Aunt Pittypat, and, of course, Scarlett. As the classic story, first told over half a century ago, moves forward, the greatest love affair in all fiction is reignited; amidst heartbreak and joy, the endless, consuming passion between Scarlett O'Hara and Rhett Butler reaches its startling culmination. Rich with surprises at every turn and new emotional, breathtaking adventures, Scarlett satisfies our longing to reenter the world of Gone With the Wind. Like its predecessor, Scarlett will find an eternal place in our hearts. #1 New York Times bestseller#1 Chicago Tribune bestseller#1 Los Angeles Times bestseller#1 Publishers Weekly bestseller#1 Washington Post bestseller

Can Levenham’s biggest ladies’ man make good – and recapture the heart of the girl he’s always loved? When horticulturalist Alice Lindner goads her ex-boyfriend Eddie Argyle into a fundraising contest, she doesn’t expect him to take it seriously. Winning small-town Levenham’s inaugural Wine Show crown will take dedication and hard work, and all Eddie cares about is chasing skirt. Besides, a win will be Alice’s tribute to her late mum. No way is Eddie getting his hands on the crown. Big-hearted farmer Eddie never understood why love-of-his-life Alice dumped him. Yeah, it’d been a difficult time with her mum’s illness, but he’d loved her the best he could and losing her left him adrift. Now he has the opportunity to prove himself by winning not only the crown but maybe Alice’s heart in the process. Will Eddie’s enthusiasm ruin Alice’s tribute and with it all hope of a second chance? Or will Alice realise that the real prize isn’t in the past but with the man who wants to be her future?

In Fashion, Media, Promotion: the new black magicFashion is linked to its communication networks - involving thereader in the process of selling Fashion in the global marketplace.Fashion's ingenuity in adapting to new means of promotion fordigital and print media, websites, advertising, cinema, music andtelevision, is celebrated. Hollywood's role in shaping Fashion's influence is assessedthrough Audrey Hepburn's persuasive iconography and the impact ofthe most watched movie of the 20th century: Gone with theWind. Exceptional designers Coco Chanel, Christian Dior, ReiKawakubo, Mary Quant, Elsa Schiaparelli, Vivienne Westwood areconsidered, together with extraordinary innovators Paul Smith,Vidal Sassoon, Lynne Franks. Roland Barthes' Fashion System andMythologies are viewed as cultural and promotional texts,with revealing insights into the technologies which bring Fashionto mass audiences. Marketing and branding successes are reviewed and Fashion'scontinuing narrative is illustrated with luminous colourimages.

Scarlett's Sisters explores the meaning of nineteenth-century southern womanhood from the vantage point of the celebrated fictional character's flesh-and-blood counterparts: young, elite, white women. Anya Jabour demonstrates that southern girls and young women faced a major turning point when the Civil War forced them to assume new roles and responsibilities as independent women. Examining the lives of more than 300 girls and women between ages fifteen and twenty-five, Jabour traces the socialization of southern white ladies from early adolescence through young adulthood. Amidst the upheaval of the Civil War, Jabour shows, elite young women, once reluctant to challenge white supremacy and male dominance, became more rebellious. They adopted the ideology of Confederate independence in shaping a new model of southern womanhood that eschewed dependence on slave labor and male guidance. By tracing the lives of young white women in a society in flux, Jabour reveals how the South's old social order was maintained and a new one created as southern girls and young women learned, questioned, and ultimately changed what it meant to be a southern lady.

Boaz Hagin carries out a philosophical examination of the issue of death as it is represented and problematized in Hollywood cinema of the classical era (1920s-1950s) and in later mainstream films, looking at four major genres: the Western, the gangster film, melodrama and the war film.