When her younger sister is abducted, strong-willed Emma Linley-Kirov will make a deal with the devil himself to rescue her. Devastatingly handsome, Dimitri Tipova is a scoundrel, seducer…and the only man who can help her, though his motive is cold, hard vengeance. Emma dares to trust him, but at what price? As prince of Saint Petersburg's underworld, Dimitri has wealth, power, women—everything but revenge against his nefarious father. Emma is an enchanting means to an end. But as their dangerous pursuit sweeps them from the ballrooms of Russia to the steamy streets of Cairo, his savage desire for her grows. And leads him to a crossroads between his dark obsession…and the promise of love.

Lady Penelope Tidemore is no stranger to scandal, but it is only through a terrible mischance that she is caught in a compromising position with the darkly enigmatic viscount Ryker Black. Raised from the streets and proprietor of the most notorious gaming hell in London, Black lives in a world filled with debauchery and danger. Taking a Society wife from the very ton he despises is not part of his plan, even if the innocent Penelope turns his blood hot with desire. As this unlikely husband and wife grow closer, they learn that what started as chance could end up sealing their fates.

The Founding Fathers are often revered as American saints; here are the stories of those Founders who were schemers and scoundrels, vying for their own interests ahead of the nation’s. We now have a clear-eyed understanding of Founding Fathers such as George Washington, Benjamin Franklin, Thomas Jefferson, and Alexander Hamilton; even so, they are often considered American saints, revered for their wisdom and self-sacrificing service to the nation. However, within the Founding Generation lurked many unscrupulous figures—men who violated the era’s expectation of public virtue and advanced their own interests at the expense of others. They were turncoats and traitors, opportunists and con artists, spies, and foreign intriguers. Some of their names are well known: Benedict Arnold and Aaron Burr. Others are less notorious now but were no less threatening. There was Charles Lee, the Continental Army general who offered to tell the British how to defeat the Americans, and James Wilkinson, who served fifteen years as a commanding general in the US Army, despite rumors that he spied for Spain and conspired with traitors. The early years of the republic were full of self-interested individuals, sometimes succeeding in their plots, sometimes failing, but always shaping the young nation. A Republic of Scoundrels seeks to re-examine the Founding Generation and replace the hagiography of the Founding Fathers with something more realistic: a picture that embraces the many facets of our nation’s origins.

Virgin martyrs make up one of the largest categories of medieval saints. To judge by their frequent appearances in art and literature, they also figure among the most venerated. The legends of virgin martyrs, retold in various ways through the centuries, illuminate trends in popular piety, values, and literary tastes. Chaste Passions contains sixteen English virgin martyr legends, each of a different saint and each translated into colloquial, modern English prose. Faithful in tone and meaning to the originals, Karen Winstead's lively translations allow contemporary readers to appreciate why virgin martyr legends thrived for hundreds of years. Winstead presents the tales in chronological order, tracing the effects of the composition and tastes of the audience on the development of the genre. The virgin martyr, Winstead tells us, escapes the confining female stereotypes—demure maiden or disruptive shrew—prevalent in writings of the period. Because nearly all of the texts were written by men but addressed to women, they exhibit a fascinating interplay between male views of so-called women's literature and the demands of their intended audience. Familiarity with this widely read genre is essential to a full understanding of medieval culture, and Chaste Passions is an excellent introduction to these often racy, sometimes comic, tales

A comprehensive guide that defines the literature and the outlines the best-selling genre of all time: romance fiction. More than 2,000 romances are published annually, making it difficult for fans and the librarians who advise them to keep pace with new titles, emerging authors, and constant evolution of this dynamic genre. Fortunately, romance expert and librarian Kristin Ramsdell provides a definitive guide to this fiction genre that serves as an indispensible resource for those interested in it—including fans searching for reading material—as well as for library staff, scholars, and romance writers themselves. This title updates the last edition of Romance Fiction: A Guide to the Genre, published in 1999.While the emphasis is on newer titles, many of the important older classics are retained, keeping the focus of the book on the entire genre, instead of only those titles published during the last decade. Specific changes include new chapters on linked and continuing romances, a new section on "Chick Lit" in the Contemporary Romance chapter, an expansion of coverage on the alternative reality subset. This is THE romance genre guide to have.

Recent postclassical narratology has constructed top-down reading models that often remain blind to the frame-breaking potential of individual literary narratives. Narrative, Interrupted goes beyond the macro framing typical of postclassical narratology and sets out to sketch approaches more sensitive to generic specificities, disturbing details and authorial interference. Unlike the mainstream cognitive approaches or even the emergent unnatural narratology, the articles collected here explore the artifice involved in presenting something ordinary and realistic in literature. The first section of the book deals with anti-dynamic elements such as dialogue, details, private events and literary boredom. The second section, devoted to extensions of cognitive narratology, addresses spatiotemporal oddities and the possibility of non-human narratives. The third section focuses on frame-breaking, fragmentarity and problems of authorship in the works of Vladimir Nabokov. The book presents readings of texts ranging from the novels of Don DeLillo and Thomas Pynchon to the Animal Man comics. The common denominator for the texts discussed is the interruption of the chain of events or of the experiential flow of human-like narrative agents.