Nowhere to run. One place to hide…Sarah Davidson is the lone witness to a brutal murder. After the killer makes an attempt on her life, she's put under police protection. But when one of the cops turns on her, she's forced to hide in a place no one would ever think to look. Sarah's solution? Roosevelt High. She'll masquerade as a high school senior and try to blend in. But no one can ignore the "cool girl from California." Especially not Jack Morgan, her English teacher. Under ordinary circumstances, he would be the perfect man for her. But he'll never look at her as a woman unless she reveals her true identity—and if she does that she just might wind up dead. What's a girl to do?

The Wallflower Avant-Garde argues for the importance of a strain of modernist formalism based in ekphrasis, the literary imitation of the visual arts. Often associated with a conservative aesthetic of wholeness, permanence, and autonomy, ekphrastic writing also involves excess, failure, and mimesis, conjuring an aesthetic sense of closure and unity out of impossible imitations. This choreography of imitation and autonomy resonates with many of the foundational insights of queer theory: the way it situates identity as an effect of performativity, artifice, and mimesis. Unlike many queer theorists, however, this book insists that we value both the imitations and the aspirations that guide them, underlining not only the illusoriness of identity but also its allure. This more capacious formalism allows aspects of modernists aesthetic that have seemed regressive or repressive to be read as generative forms of stasis, quiet, reserve, shyness, and so on.

When a scorned wallflower, Miss Julia Harbison, plots revenge on the roguish Lord Rushington, a dance floor mishap turns into a game of love and deception. Can truth and passion outshine vengeance? When a drunken gentleman mistakes her for another on the dance floor, Miss Julia Harbison must battle the gossip and whispers alone. Without any apology or explanation, Lord Rushington leaves her to fade into the background, forcing her into the guise of a wallflower. Angry at his lack of consideration, Julia plots her revenge – to make him fall in love with her before shattering his heart to pieces. Viscount Benedict Rushington is a gentleman inclined towards revelry and has no intention of finding himself a bride. However, his eye is caught by a mysterious young lady who hides away at the side of society but whose smiles pluck at his heart. All the more intrigued, he encourages her to step out a little more, finding himself entirely caught up with her. When the truth is revealed, will Benedict confess how much he adores her? And can Julia bring herself to break the heart of the gentleman she has come to love?

Winter has arrived at the Royal Academy, bringing the annual student ball. Whoever one takes as their partner in the first dance is expected to become the person’s future spouse. As such, Nicola and Sieghart prepare to reveal their engagement to the world. Jealous actors, however, seek to destroy their love by inflicting whatever carnage they deem necessary. Romance and horror play second and third fiddle to a bona fide mystery in this final installment. After all they’ve been through together, will Nicola and Sieghart let anyone tear them apart? And what do these goings-on, if anything, have to do with the latest series of ghost stories students have been spreading around the school?

Some secrets are best shared… Since making the ultimate emotional sacrifice for her sister, counsellor Lucy Edwards has kept her feelings buried and her heart on lockdown. Enter neurosurgeon Ryan O'Doherty, complete with piercing blue eyes and roguish charm. Working with him on an emotive case brings all of Lucy's painful memories to the surface…and even closer to Ryan. Lucy's finally tempted to let someone in—but will their fragile relationship survive her most difficult revelation?