Ugly Beast doesn't want an arranged marriage, but what his president says, he gets. Abriana Vigo is not beautiful. In fact, she's bland and terrified, but she's a virgin and a Capo's daughter. Now she's been thrown to the wolves at his president's demands.Abriana will do anything to get away from her father, just to avoid being hurt anymore. She only hopes this scarred man doesn't turn his back on her. If he does, she knows her father will find some way to kill her.But despite all her newfound freedom in the MC life, if Abriana doesn't prove her loyalty to the club, her husband will kill her. When her father orders her to spy on the club and report back, she knows she cannot do it. She has to make a choice.For Ugly Beast, he never thought he would commit to anyone or anything, but after finding out his wife is taken, he's willing to put the club at risk for her.Abriana isn't the woman he wanted, but now, he can't let her go, and anyone who tries to take her, will know what it's like to deal with him.

Eun-Suh is, without doubt, the ugliest girl in town. When her father takes a rose from a monster, she has to pay the price and become its prisoner... but that might not be as bad as it sounds.

Ugly as sin, the ugly duckling—or maybe you fell out of the ugly tree? Let’s face it, we’ve all used the word “ugly” to describe someone we’ve seen—hopefully just in our private thoughts—but have we ever considered how slippery the term can be, indicating anything from the slightly unsightly to the downright revolting? What really lurks behind this most favored insult? In this actually beautiful book, Gretchen E. Henderson casts an unfazed gaze at ugliness, tracing its long-standing grasp on our cultural imagination and highlighting all the peculiar ways it has attracted us to its repulsion. Henderson explores the ways we have perceived ugliness throughout history, from ancient Roman feasts to medieval grotesque gargoyles, from Mary Shelley’s Frankenstein to the Nazi Exhibition of Degenerate Art. Covering literature, art, music, and even the cutest possible incarnation of the term—Uglydolls—she reveals how ugliness has long posed a challenge to aesthetics and taste. She moves beyond the traditional philosophic argument that simply places ugliness in opposition to beauty in order to dismantle just what we mean when we say “ugly.” Following ugly things wherever they have trod, she traverses continents and centuries to delineate the changing map of ugliness and the profound effects it has had on the public imagination, littering her path with one fascinating tidbit after another. Lovingly illustrated with the foulest images from art, history, and culture, Ugliness offers an oddly refreshing perspective, going past the surface to ask what “ugly” truly is, even as its meaning continues to shift.

"Struggling to raise her little brother Donal, eight-year-old Wavy is the only responsible adult around. Obsessed with the constellations, she finds peace in the starry night sky above the fields behind her house, until one night her star-gazing causes an accident. After witnessing his motorcycle wreck, she forms an unusual friendship with one of her father's thugs, Kellen, a tattooed ex-con with a heart of gold. By the time Wavy is a teenager, her relationship with Kellen is the only tender thing in a brutal world of addicts and debauchery"--

Three timeless tales retold for the stage by one of the UK’s most renowned writers of plays for children, Charles Way. Winner of the Writers Guild Best Children’s Play Award, his plays appeal to audiences of all ages and are translated into several languages and performed internationally. Each of the three plays explores the journey from childhood to adulthood, but each takes a specific angle. Sleeping Beauty is driven by the notion of duality. Everyone and everything in the play has a complimentary aspect; King and Queen, Castle and forest, bright witch and dark witch, etc. Gryff, half-dragon, half-human is the physical embodiment of the idea of duality and is at war with himself. This is both dramatic, since it provides the conflict needed for the drama, and thematically rich, since it explores what all of us, but more precisely children, feel as they grow up. Cinderella is a play about a journey from darkness to light, from sickness to health. Everyone in the play is under the influence of some kind of loss, and the play explores these feelings and the sometimes painful route one must take to accommodate them and move on in life. It’s a moving and beautiful play, that also manages to be tremendously funny and the introduction of Mozart as a character, whose music charts the whole journey toward light and joy, is a theatrical coup. Where Cinderella has music at its core, Beauty and the Beast has dance. This is a play about overcoming fear, and the subconscious world is represented through imagery and movement. The play begins with a startling dream sequence and then segues into the drawing-room world of a Jane Austen novel, before moving to the wilds of Dartmoor. Throughout this journey one is never sure if the play is in dreamtime or not, and Way connects this feeling to the very act of theatre itself. As ever, the themes are explored through dramatic action, and the result in Beauty and the Beast is a script of rare brevity that allows actors and directors room to explore the profound nature of the story.