His ex is back—and she wants a baby. How can any red-blooded billionaire say no to siring a child with the one who got away…? It's an offer Matthew Cooper can't refuse. Make a baby with his long-ago lover, AJ Reynolds? He'd like nothing better than to bed her again. The brilliant doctor has had ten years to contemplate where he went wrong. This time, he won't let her get away. Free-spirited AJ wants no romantic entanglements with the all-business ex-boyfriend who broke her heart. All she wants is a child. But Matt's persistent attentions weaken her resolve, threatening all her carefully laid baby-making plans….

An undercover agent has one assignment: protect a pregnant woman who may know a lot more than she's telling… Nina Moore has no idea her life and the life of her unborn child are in danger. She only knows she's grateful for the handsome handyman helping her restore her bed-and-breakfast. But Jase Bennett isn't the average jack-of-all-trades—he's a special ops agent assigned to protect Nina from Tempest, the organization responsible for Nina's ex-fiancé's death. Getting close to the vulnerable beauty is easier than Jase expected…too easy. And when "fake fiancé" is added to his job description, the jaded agent is in over his head. But with the body count rising, Jase must risk it all to save Nina and her baby from Tempest's twisted plans…

What does pregnancy mean when it does not lead to the birth of a child? Through personal experience via graphic novel and with a corresponding philosophical analysis, The Pregnancy ≠ Childbearing Project narrates and assesses the alternative values possible in miscarriage, a.k.a., the failed pregnancy. Having shared in both experiences – miscarriage and childbirth – solidarity among women must be possible. All pregnancies lead to a kind of ‘emptying out’ – a loss – whether wanted or unwanted, with or without a child. Often, after miscarriage, people say, ‘just try again.’ What then for the work of grief? How do you get over what you cannot get over? The kind of loss in the experience of miscarriage is not socially or culturally recognized as a kind of death. The Pregnancy ≠ Childbearing Project seeks solidarity among women who have known pregnancy independent of the politics and rhetoric of pro-life discourse, and in doing so, holds the pro-life agenda accountable for the silencing of women, arguing that alienates them from each other and their own experiences.

The Pregnancy Encyclopedia is an engaging and accessible question-and-answer guide to some of the most commonly asked questions about pregnancy, packed with full-color photographs and illustrations. The Pregnancy Encyclopedia has answers to all your questions--including the ones you haven't even thought of yet. Top experts in the field offer encyclopedic coverage of the topics relating to pregnancy and birth, from fertility and family planning to nutrition and exercise to lifestyle changes, planning for the future, and more. In all, this comprehensive guide covers more than 300 topics of interest to expecting mothers and their partners. The Pregnancy Encyclopedia is the only book that uses an engaging Q&A style with accompanying full-color photographs, illustrations, and infographics to help you understand what's going on with your baby, your partner, and yourself.

EVERYTHING YOU NEED TO KNOW TO PREPARE FOR BIRTH Many parents-to-be and their support people have little knowledge of what to expect in the birthing suite. Drawing on his extensive experience as a leading obstetrician and international researcher into safe childbirth, Professor Stephen Tong guides you through vital information to help prepare for a safe and happy birth day. Simply written and accessible, the pages are packed with information and real life stories covering: • The stages of labour and birth • How different forms of pain relief, including epidurals, work • Induction of labour, ceasars and assisted birth • Monitoring of the baby and mother • Post childbirth recovery Professor Tong carefully and simply breaks down the evidence and facts to provide you with everything you need to know to turn anxiety and trepidation about childbirth into confidence, empowerment and cherished, life-long memories. The Birth Book is a warm, wonderful and reassuring companion for birth.

This book is a feminist analysis which combines a psychoanalytic perspective on catastrophic birth with the politics of reproduction in the emergent democracy of nineteenth-century France. It focuses on three major thinkers whose personal relation to origins is problematic - Roussea, Constant, and Stendhal - and also includes a broad reading of the nineteenth-century novel within the frame of pathological generation, giving special attention to works by Michelet and Zola. Professor Mossman identifies important areas of interaction between production and reproduction at the level of aesthetic form, and between private, birth-related discourse and the ideology of the birth of democracy. Within the context of the collapse of ancien regime France, the nascent ideology of motherhood collides with modes of discourse that invade and colonize the maternal body, generating a considerable burden of anxiety expressed in the nineteenth-century French novel.

This exploration of the ways in which pregnancy affects narrative begins with two canonical American texts, Nathaniel Hawthorne's The Scarlet Letter (1848) and Harriet Jacobs's Incidents in the Life of a Slave Girl (1861). Relying on such diverse works as Frankenstein, Peyton Place, Beloved, and I Love Lucy, the book chronicles how pregnancy evolves from a conventional plot device into a mature narrative form. Especially in the 20th and 21st centuries, the pregnancy narrative in fiction and film acts as a lightning rod with the power to electrify all genres of fiction and film, from early melodrama (Way Down East) to noir (Leave Her to Heaven); from horror (Rosemary's Baby) to science fiction and dystopia (Alien, The Handmaid's Tale); and from iconic (Lolita) to independent (Juno, Precious). Ultimately, the pregnancy narrative in popular film and fiction provides a remarkably clear lens by which we can gauge how popular American film and fiction express our most profound--and most private--fears, values and hopes.