Complete series omnibus containing all 6 books in the Sinner's Lullaby series under 1 roof! Beautiful Sinner, Made for Sin, Ruthless Sinner, Savage Sinner, Born Sinner & Fallen Sinner. After witnessing a gangland murder, Jasmine is given an ultimatum. To die for being a witness... or to work undercover for Adrian Romano, by retrieving a chip with top secret data hidden on it from a high-profile criminal. Adrian Romano is the definition of everything that Jasmine should be avoiding. He's intimidating, he's mystifying... And he's the Capo of the Italian Mafia.

Mara Dyer doesn’t know if she is crazy or haunted—all she knows is that everyone around her is dying in this suspenseful and “strong, inventive tale” (Kirkus Reviews). Mara Dyer doesn’t think life can get any stranger than waking up in a hospital with no memory of how she got there. It can. She believes there must be more to the accident she can’t remember that killed her friends and left her mysteriously unharmed. There is. She doesn’t believe that after everything she’s been through, she can fall in love. She’s wrong. After Mara survives the traumatizing accident at the old asylum, it makes sense that she has issues. She lost her best friend, her boyfriend, and her boyfriend’s sister, and as if that weren’t enough to cope with, her family moves to a new state in order to give her a fresh start. But that fresh start is quickly filled with hallucinations—or are they premonitions?—and then corpses, and the boundary between reality and nightmare is wavering. At school, there’s Noah, a devastatingly handsome charmer who seems determined to help Mara piece together what’s real, what’s imagined—and what’s very, very dangerous. This fast-paced psychological—or is it paranormal?—thriller will leave you breathless for its sequel, The Evolution of Mara Dyer.

"I found my angel. Then I broke her wings. Alexis should've never set foot in my world. Men like me stain girls like her. We take their innocence and tear it to shreds. She thinks she's tough. She thinks she can handle me. But she doesn't know just how deep my darkness goes. It was for the best that I claimed her for a night and left her behind. Anything more than that would have been cruel. I thought I'd seen the last of Alexis Wright. So imagine my surprise two years later when the door to my office opens...And she walks in. The girl I ravaged. The girl I devoured. Now that's she's in front of me again, I have just two questions for her: First--what is she doing here? And second...What does she mean, 'our baby'?" -- page 4 of cover.

Friedrich Hölderlin's only novel, Hyperion (1797-99), is a fictional epistolary autobiography that juxtaposes narration with critical reflection. Returning to Greece after German exile, following his part in the abortive uprising against the occupying Turks (1770), and his failure as both a lover and a revolutionary, Hyperion assumes a hermitic existence, during which he writes his letters. Confronting and commenting on his own past, with all its joy and grief, the narrator undergoes a transformation that culminates in the realisation of his true vocation. Though Hölderlin is now established as a great lyric poet, recognition of his novel as a supreme achievement of European Romanticism has been belated in the Anglophone world. Incorporating the aesthetic evangelism that is a characteristic feature of the age, Hyperion preaches a message of redemption through beauty. The resolution of the contradictions and antinomies raised in the novel is found in the act of articulation itself. To a degree remarkable in a prose work of any length, what it means is inseparable from how it means. In this skilful translation, Gaskill conveys the beautiful music and rhythms of Hölderlin's language to an English-speaking reader.

A New York Times Notable Book for 2011 One of The Economist's 2011 Books of the Year People speak different languages, and always have. The Ancient Greeks took no notice of anything unless it was said in Greek; the Romans made everyone speak Latin; and in India, people learned their neighbors' languages—as did many ordinary Europeans in times past (Christopher Columbus knew Italian, Portuguese, and Castilian Spanish as well as the classical languages). But today, we all use translation to cope with the diversity of languages. Without translation there would be no world news, not much of a reading list in any subject at college, no repair manuals for cars or planes; we wouldn't even be able to put together flat-pack furniture. Is That a Fish in Your Ear? ranges across the whole of human experience, from foreign films to philosophy, to show why translation is at the heart of what we do and who we are. Among many other things, David Bellos asks: What's the difference between translating unprepared natural speech and translating Madame Bovary? How do you translate a joke? What's the difference between a native tongue and a learned one? Can you translate between any pair of languages, or only between some? What really goes on when world leaders speak at the UN? Can machines ever replace human translators, and if not, why? But the biggest question Bellos asks is this: How do we ever really know that we've understood what anybody else says—in our own language or in another? Surprising, witty, and written with great joie de vivre, this book is all about how we comprehend other people and shows us how, ultimately, translation is another name for the human condition.