THIS IS NOT THE WEDDING DAY WHITNEY EXPECTED Whitney Anderson is stunned by the news that her dashing husband is dead. She doesn't understand what's happened except that their ranch in the hills of Montana is at risk. On the verge of a marriage of convenience to save their home—Whitney's world tilts on its axis. Blake Anderson returns home from service to his country to find his wife about to wed another. Uncovering the layers of lies and deceit that brought them to this place reveals a conspiracy to gain access to their land under which a vast reserve of oil is untapped. Blake's not selling, and his return comes at a cost for them all as they fight family, former friends, and foreign enemies. Blake's out to save his land, his wife and his marriage. Whitney was once content to remain in the dark when it came to the running of the ranch and Blake's military operations, but now she's vowed and determined to discover the truth and prove her devotion to her husband...Or die trying.

A Knight of the Alliance protecting humankind, Michelangelo Rotolo (Angelo) has been slaying vampires for years. Once a mortal but now a vampire, he continues his journey with his three human comrades in search for the one who had infected him—for revenge and with hopes of becoming a mortal again. Their mission brings them to a little town where a beautiful female named Whitney Johnson captures Angelo’s notice and his vampire heart as well. But to his surprise, she is no ordinary human, and her life is certainly in danger because of it. Running out of time, can Angelo find a way to save the unaware Whitney from an unstoppable mystical creature? If he fails, she faces an excruciating and brutal death.

Marriage can be murder… Former Chicago Vice cop, Sloan North, is back working undercover, this time for the investigative agency, CORE. He’s missed being on the streets, taking on a fake persona and going after dangerous bad guys. Instead of the dark heart of Chicago, Sloan’s planted in a quiet, boring suburb of Cleveland, pretending to be married to an irritating, too hot for words, Cuyahoga County Detective, Whitney Russell. Whitney can’t believe she’s saddled with a bearded, tattooed behemoth of a man as her phony husband. He’s crude, rude and has a bad enough attitude no one on their cul-de-sac will buy their ruse. But as they’re forced into fake wedded bliss, Sloan surprises her in more ways than one. Beneath his harsh, sexy exterior is a man worth loving. Too bad she doesn’t believe in love. While Sloan tries to avoid his gorgeous, leggy partner, deal with mind-numbing suburbia, and determine if his neighbor is indeed a big time drug lord, a body is unearthed on the neighboring street. Then another…and another. Life in the burbs goes from boring to deadly because this killer doesn’t just murder his victims. He buries them alive.

Sam “Slam-Dunk” Cherio is wounded on his last mission for the Army, so he heads to his friend's Montana ranch to recuperate through the Christmas season. The bliss of family life is hard to swallow, but when he meets Mika Slovinika, she intrigues him, and he wants to know more about her. Mika is struggling in this strange new place in America. Her boss is mean. She has nothing to call her own, and she might be sent home. Running into Slam-Dunk at the grocery store gives her hope. Slam-Dunk might be in love, but is Mika free to reciprocate? Something is holding her back. His military training might be needed again to fight a different battle. Maybe Christmas will involve the best gift of all—freedom.

Trauma Cinema focuses on a new breed of documentary films and videos that adopt catastrophe as their subject matter and trauma as their aesthetic. Incorporating oral testimony, home-movie footage, and documentary reenactment, these documentaries express the havoc trauma wreaks on history and memory. Janet Walker uses incest and the Holocaust as a double thematic focus and fiction films as a point of comparison. Her astute and original examination considers the Hollywood classic Kings Row and the television movie Sybil in relation to vanguard nonfiction works, including Errol Morris's Mr. Death, Lynn Hershman's video diaries, and the chilling genealogy of incest, Just, Melvin. Both incest and the Holocaust have also been featured in contemporary psychological literature on trauma and memory. The author employs theories of post traumatic stress disorder and histories of the so-called memory wars to illuminate the amnesias, fantasies, and mistakes in memory that must be taken into account, along with corroborated evidence, if we are to understand how personal and public historical meaning is made. Janet Walker’s engrossing narrative demonstrates that the past does not come down to us purely and simply through eyewitness accounts and tangible artifacts. Her incisive analysis exposes the frailty of memory in the face of disquieting events while her joint consideration of trauma cinema and psychological theorizing radically reconstructs the roadblocks at the intersection of catastrophe, memory, and historical representation.