Sparks fly in the finale of the Scandalous Gentlemen of St. James Place series, as the last wicked rogue meets his match. When Rosalind Sharpe gains the attention of the deliciously wicked Duke of Avendale, she’s torn between her distracting attraction to the notorious rogue and the knowledge that he—rich as Croesus—is the perfect target for a deception that will put her swindling days behind her. However, Avendale is no fool. After he discovers the tantalizing lady packing up to leave London with his coins in tow, he confronts her with a scandalous proposition: she can have all the money she requires…for a week in his bed. Desperate for the funds, Rose agrees, but on one condition: he must never question her motives. Avendale quickly sees beneath her mask and discovers she is more than passion and pleasure—she is everything he has ever desired. But claiming her requires he unveil her secrets and lose her forever. Unless he can put his own dark past aside and risk everything for a chance at love.

"Wonderful! A charming, clever, and engaging storyteller not to be missed." -- Sarah MacLean, New York Times bestselling author A lady with secrets, a man with a burning desire, a love that breaks all the rules Lady Charlotte Beaumont has spent her whole life being ignored. By her parents, her brother, even the servants. So she was secretly able to develop her talent for painting well beyond the usual watercolors. Too bad no one will let her actually use it-women are rarely accepted into the Royal Academy. But when a connection at the Haverhall School for Young Ladies gets Charlotte her dream commission, she'll do whatever it takes to make it work. Including disguising herself as "Charlie." Flynn Rutledge has something to prove. His lowly upbringing is not going to stop him from achieving his artistic dreams. This commission is the key to his future, and his partner, an unknown youth in oversized clothes who is barely old enough to shave, doesn't exactly inspire confidence. But Charlie does inspire Flynn's artistic passion-something he worried he might have lost forever. For all his street smarts, nothing can prepare Flynn for the shock of Charlie's true identity. He doesn't care that she's a woman, but a lady of the ton is a different matter altogether . . .

The Red Duke was once a valorous and honourable knight. Betrayed and struck down in battle, he rose again as a bloodthirsty vampire lord. After a campaign of butchery the undead fiend was defeated and entombed. After half a century of interment, the Red Duke is resurrected by the vampiric witch Jacquetta.

Duke Ellington was one of jazz's greatest figures, a composer and bandleader of unparalleled importance and influence. But little attention has been given to his chief musical collaborator, Billy Strayhorn, who created hundreds of compositions and arrangements for his musical partner, and without whom the sound of Ellington's orchestra would have been very different. Now, in Walter van de Leur's provocative new book, Something To Live For, Billy Strayhorn steps out from Ellington's shadow and into the spotlight. Van de Leur argues that far from being merely a follower of Ellington or his alter ego, Strayhorn brought a radically new and visionary way of writing to the Ellington orchestra. Making extensive use, for the first time, of over 3,000 autograph scores, Van de Leur separates Strayhorn from Ellington, establishes who wrote what, and clearly distinguishes between their distinctive musical styles. "Both Strayhorn's and Ellington's oeuvres," writes Van de Leur, "though historically intertwined, nevertheless form coherent, separate musical entities, especially in terms of harmonic, melodic, and structural design." Indeed, Something to Live For allows us to see the characteristic features of Strayhorn's compositions and arrangements, his "musical fingerprints," and to analyze and evaluate his music on its own terms. The book also makes clear that Strayhorn's contribution to the band was much larger, and more original, than has been previously acknowledged. Based on a decade of research and offering detailed analyses of over 70 musical examples, Something to Live For casts new light--and will surely arouse intense debate--on two of the most important composers in the history of jazz.