I’m the first-born son of the mafia king. The favorite. Destined to rule, I’m a dangerous man, a ruthless one. But in my world, you have to be. Then Natalie stumbles into my life. Wrong place. Wrong time. Twice, fate put her in my path. Twice, fate placed the innocent lamb at the mercy of the monster. I gave her a chance to walk away. Told her it would be better for her if she did. But she didn’t listen. And now it’s too late. Because I’m not good. I never wanted to be. And I won’t let her go anymore. See, I’m not the hero. When I touch her, it’s with dirty hands. I know my reckoning is coming though. I know I’ll burn for the things I’ve done, the sins I’ve committed. And I don’t deny hell is where I belong, but I want my time first. I want my time with her. She’s mine. Forever. No matter what. Author's Note: Sergio is an emotional romance set in the Benedetti Mafia world. It is not a traditional romance. It is recommended that you read both Salvatore: a Dark Mafia Romance and Dominic: a Dark Mafia Romance before reading Sergio's story.

Sergio's a soccer star... in his dreams. He can't even kick the ball! So Sergio decides to try playing another position--goalie! He isn't so good at first, but with hard work and practice, he's ready for the game against the big, bad Seagulls. Will Sergio become a true star? This adorable "everypenguin" (Kirkus) returns with a story about determination and finding your true talents, leading to a triumphant and hilarious outcome.

As a young child in Naples, Italy, Sergio Esposito sat at his kitchen table observing the daily ritual of his large, loud family bonding over fresh local dishes and simple country wines. While devouring the rich bufala mozzarella, still sopping with milk and salt, and the platters of fresh prosciutto, sliced so thin he could see through it, he absorbed the profound relationship of food, wine, and family in Italian culture. Growing up in Albany, New York, after emigrating there with his family, he always sat next to his uncle Aldo and sipped from his wineglass during their customary hours-long extended family feasts. Thus, from a very early age, Esposito came to associate wine with the warmth of family, the tastes of his mother’s cooking—and, above all, memories of his former life in Italy. When he was in his twenties, he headed for New York and undertook a career in wine, beginning a journey that would culminate in his founding of Italian Wine Merchants, now the leading Italian wine source in America. His career offered him the opportunity to make frequent trips back to Italy to find wine for his clients, to learn the traditions of Italian winemaking, and, in so doing, to rediscover the Italian way of life he’d left behind. Passion on the Vine is Esposito’s intimate and evocative memoir of his colorful family life in Italy, his abrupt transition to life in America, and of his travels into the heart of Italy—its wine country—and the lives of those who inhabit it. The result is a remarkably engaging and entertaining wine/travel narrative replete with vivid portraits of seductive places—the world-famous cellars of Piedmont, the sweeping estates of Tuscany, the lush fields of Campania, the chilly hills of Friuli, the windy beaches of Le Marche; and of memorable people, diverse and vibrant wine artisans—from a disco-dancing vintner who bases his farming on the rhythm of the moon to an obsessive prince who destroys his vineyards before his death so that his grapes will never be used incorrectly. Esposito’s luscious accounts of the wonderful food and wine that are so much a part of Italian life, and his poignant and often hilarious stories of his relationships with his family and Italian friends, make Passion on the Vine an utterly unique and enchanting work about Italy and its eternally seductive lifestyle.

Lucia It all started with a contract signed by him, then by me, while our families watched. While my father sat silent, a man defeated, giving his daughter to the Benedetti monsters. I obeyed. I played my part. I signed my name and gave away my life. I became their living, breathing trophy, a constant symbol of their power over us. That was five years ago. Then came the time for him to claim me. For Salvatore Benedetti to own me. I had vowed vengeance. I had learned hate. And yet, nothing could have prepared me for the man who now ruled my life. I expected a monster, one I would destroy. But nothing is ever black or white. No one is either good or evil. For all his darkness, I saw his light. For all his evil, I saw his good. As much as he made me hate him, a passion hotter than the fires of hell burned inside me. I was his, and he was mine. My very own monster. Salvatore I owned the DeMarco Mafia Princess. She belonged to me now. We had won, and they had lost. And what better way to teach a lesson than to take from them that which is most precious? Most beloved? I was the boy who would be king. Next in line to rule the Benedetti Family. Lucia DeMarco was the spoils of war. Mine to do with as I pleased. It was my duty to break her. To make her life a living hell. My soul was dark, I was hell bound. And there was no way out, not for either of us. Because the Benedetti family never lost, and in our wake, we left destruction. It’s how it had always been. How I believed it would always be. Until Lucia.

“Boelts lays out Ruben’s ethical dilemma and emotional turmoil without preaching, and his struggle toward the moral choice . . . is both dramatic and genuine.” — Publishers Weekly (starred review) Ruben feels like he is the only kid without a bike. His friend Sergio reminds him that his birthday is coming, but Ruben knows his family can’t afford that. So when Ruben sees a dollar bill fall out of someone’s purse, he picks it up and puts it in his pocket. But when he gets home, he discovers it’s not one dollar or even five or ten — it’s a hundred-dollar bill, more than enough for a new bike just like Sergio’s! Finders keepers, right? Presenting a relatable story with subtlety and heart, the creative team behind Those Shoes pairs up again for a story about how hard it can be to do the right thing.

Spectacle, myth, fable - these words instantly leap to mind when considering director Sergio Leone's celebrated films. His popularization of the Spaghetti Western genre, through works like A Fistful of Dollars (1964) and Once Upon a Time in the West (1968), continues to have a profound impact on filmmakers worldwide. In this exciting new study, Italian film scholar Christian Uva explores a side of Leone's works rarely before discussed: the political. Grappling with the contradictions between Leone's politically critical cinematic eye and his aversion to ideological classification, Sergio Leone: Cinema as Political Fable makes sense of how the director's internal political tensions shaped the radical themes of his Western fables. Looking at Leone and his films through a number of lenses, the book examines the elements of Italian history and identity interwoven in the director's stories, provides cultural context for a career spanning from Italy's fascist regime to Leone's death in 1989, and discusses the influences that formed Leone's directorial identity. Uva focuses in particular on the postmodernist theory behind Leone's works, revealing the critical basis of his stylistic and narrative innovations and newly analyzing the most iconic sequences from The Good, the Bad, and the Ugly (1967), Duck, You Sucker (1971), and Once Upon a Time in America (1984). An admirably thorough take on the man and his works, Sergio Leone: Cinema as Political Fable provides fresh perspective on a director long-established in cinema canon.

Few directors are characterized by both extraordinary film craft and the ironic reputation for lowbrow films. Despite his many achievements as a child of the Italian Cinecitta studios, however, Sergio Leone has been judged severely by writers who find his films lacking in ideas and moralists who find his films unduly cynical. Nevertheless, Leone's greatest cinematic achievement, Once Upon a Time in the West, served to refute these criticisms while exposing the director's unique romanticism and artistic ambition. As Leone's fourth successful American western film, Once Upon a Time in the West earned him acclaim for liberating the western genre, restoring it to a place of antique American simplicity. The principal goal of this book is to sharpen an appreciation for Sergio Leone and his most famous American western. The first two chapters deal with the relationship between Once Upon a Time in the West and the western films that preceded it, particularly those of John Ford. Subsequent chapters concentrate on the central characters of Once Upon a Time in the West, with special attention to Jill, Leone's first female protagonist and a surprisingly successful character, central to the plot and accorded a kind of existential strength usually reserved for men in Westerns. The sixth, seventh and eighth chapters address Leone's visual style, which represents a unique fusion of Hollywood classicism and modernism, and reveals the influences of Italian Surrealism and the French New Wave. The final chapters explore the rhythm, romanticism, and musical character of Once Upon a Time in the West, espousing the theory that Leone's approach to film is, above all, musical.