Wrath - strong vengeful anger or indignation; retributory punishment for an offense or a crime. They say love makes you do crazy things. In Bennett Reeve's case that is the understatement of a century. Reunited with the love of his life, he will stop at nothing to ensure all of Leander's dreams come true. There's just one little problem - Dr. Lorelei Clayton. Until she's gone, Leander will never truly be his. Having lost Leander once already, Bennett will be damned if he stands by and lets it happen again. Exonerated from the four murders in his hometown, Leander Welles returns to Easton to pick up the pieces of his life. Before he can rest easy, there are few loose ends that need to be tied up. But as everyone knows, for every action there is a reaction and Leander unknowingly sets off a chain of events that even he cannot control. With each new death, he learns a painful lesson - when you're the villain, there is no such thing as happily ever after. Content warning: This book contains references to alcohol/drug use, various mental health issues, self-harm, suicide, and torture. Reader discretion is advised.

Arkady and Boris Strugatsky are widely known as the greatest Russian writers of science fiction, and their 1964 novel Hard to Be a God is considered one of the greatest of their works. It tells the story of Don Rumata, who is sent from Earth to the medieval kingdom of Arkanar with instructions to observe and to influence, but never to directly interfere. Masquerading as an arrogant nobleman, a dueler and a brawler, Don Rumata is never defeated but can never kill. With his doubt and compassion, and his deep love for a local girl named Kira, Rumata wants to save the kingdom from the machinations of Don Reba, the First Minister to the king. But given his orders, what role can he play? Hard to Be a God has inspired a computer role-playing game and two movies, including Aleksei German's long-awaited swan song. Yet until now the only English version (out of print for over thirty years) was based on a German translation, and was full of errors, infelicities, and misunderstandings. This new edition—translated by Olena Bormashenko, whose translation of the authors' Roadside Picnic has received widespread acclaim, and supplemented with a new foreword by Hari Kunzru and an afterword by Boris Strugatsky, both of which supply much-needed context—reintroduces one of the most profound Soviet-era novels to an eager audience.

After a lifetime of death and suffering, Aleksandr Vassiliev finally has everything he could ever want - the most important being someone to share his future with. Somehow a spoiled American named Roan gave Sasha a reason to see life could be more. Except, that's where the fairytale ends. He's not surprised Roan hasn't been the same since his attack, but with every day that passes, Sasha sees less and less of the boy he fell in love with. He would do anything to get his Solnyshko back, but old enemies from Sasha's past might end up costing him everything, even Roan.Roan Sinclair used to have it all. Now? He's a shell of his former self. No longer the rich, carefree college guy who brought a Russian criminal to his knees, all he's trying to do is recover from an assault that nearly killed him. Roan knows he should be grateful to be alive? but he's not. He's humiliated. Ashamed. Most of all, he's angry. He hasn't forgotten the part his dad played in everything that happened and when he threatens Sasha's freedom, Roan takes a page from the Russian's playbook. Maybe vengeance will piece him back together. Maybe then Roan can move on and get to the happily ever after he so desperately wants with the Wolf of Verkhoyansk.Content warning: This book contains references to alcohol/smoking, ethnic and homosexual slurs, sexual assault, mental health issues including PTSD and depression, on-page torture, and a lot of profanity. Reader discretion is advised.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Doctor Faustus is a classic; its imaginative boldness and vertiginous ironies have fascinated readers and playgoers alike. But the fact that this play exists in two early versions, printed in 1604 and 1616, has posed formidable problems for critics. How much of either version was written by Marlowe, and which is the more authentic? Is the play orthodox or radically interrogative? Michael Keefer’s early work helped to establish the current consensus that the 1604 text was censored and revised; the Keefer edition, praised for its lucid introduction and scholarship, was the first to restore two displaced scenes to their correct place. Most competing editions presume that the 1604 text was printed from authorial manuscript, and that the 1616 text is of little substantive value. But in 2006 Keefer’s fresh analysis of the evidence showed that the 1604 quarto’s Marlovian scenes were printed from a corrupted manuscript, and that the 1616 quarto (though indeed censored and revised) preserves some readings earlier than those of the 1604 text. This edition has been updated and revised. Keefer’s critical introduction reconstructs the ideological contexts that shaped and deformed the play, and the text is accompanied by textual and explanatory notes and excerpts from sources.