She stole his roses. Fleeing the spotlight, burnt out rock star Layla-"Belle"-Dubois seeks refuge in the south of France. That old, half-forgotten heritage in a valley of roses seems like a good place to soothe a wounded heart. She certainly doesn't expect the most dangerous threat to her heart to pounce on her as soon as she sets foot on the land. He wants them back. Matt didn't mean to growl at her quite that loudly. But-his roses! She can't have his roses. Even if she does have all those curls and green eyes and, and, and...what was he growling about again? Or maybe he just wants her. When an enemy invades his valley and threatens his home, heart, and livelihood, Matthieu Rosier really knows only one way to defend himself. It might involve kissing. Praise for Laura Florand's novels "A poignant, lovely, moving, authentic story." - Virginia Kantra, NYT bestselling author "Sweet, sexy, and all around delicious. I'm addicted. I can't wait for the next book." - Nalini Singh, NYT bestselling author "Chocolate, Paris, and a Greek god for a hero; this delectable confection has it all!" - Library Journal Starred Review "(Florand) captures the nature of love, its fierce, soul-warming necessity, in a way that will make you as happy as the finest bonbon could." - The Barnes & Noble Review, a Best Book of the Year "Florand outdoes herself with this exquisite confection... painstakingly crafted and decadent as the sweets it portrays, leaving the reader longing for just one little taste." - Publishers Weekly Starred Review "Adorable, charming, whimsical." - Smexy Books "Romance at its strongest and most powerful." - Dear Author, Recommended Read "A delectable summer bonbon." - NPR Books

"Laura Wagner has managed to get a huge amount of Haiti into the pages of this book: the sun, the rain, the bottomless spiral of catastrophe, rage, despair and indomitable hope." —Madison Smartt Bell, author of All Souls' Rising: A Novel of Haiti "In Haiti they say 'Kreyòl pale, Kreyòl konprann.' Speak plainly and honestly, and be understood. Laura Wagner does just that in this brave, beautiful book, bringing us the complex life of Magdalie, and a glimpse of a people's soul." —Jonathan M. Katz, author of The Big Truck That Went By: How the World Came to Save Haiti and Left Behind a Disaster "Haiti, already one of the poorest countries in the world, was devastated by the earthquake in 2010. This is a story of everything that comes after: from a candid depiction of the international response to a young girl’s account of what a life of desperation can do to an individual and to a society. Magdalie’s journey shows the importance of connections, of family and friends, during difficult times and the anguish that comes when those bonds are broken. In her debut novel, Laura Rose Wagner has managed to capture the devastation of loss while providing determined hope for the individual and the nation. An important read for anyone who wishes to better understand the reality of life in Haiti after the earthquake." —Ophelia Dahl, executive director of Partners in Health Hold Tight, Don’t Let Go follows the vivid story of two teenage cousins, raised as sisters, who survive the devastating 2010 earthquake in Haiti. After losing the woman who raised them in the tragedy, Magdalie and Nadine must fend for themselves in the aftermath of the quake. The girls are inseparable, making the best of their new circumstances in a refugee camp with an affectionate, lively camaraderie, until Nadine, whose father lives in Miami, sends for her but not Magdalie. As she leaves, Nadine makes a promise she cannot keep: to bring Magdalie to Miami, too. Resourceful Magdalie focuses her efforts on a reunion with Nadine until she realizes her life is in Haiti, and that she must embrace its possibilities for love, friendship, and a future.

The mother-daughter partnership that produced the Little House books has fascinated scholars and readers alike. Now, John E. Miller, one of America’s leading authorities on Laura Ingalls Wilder and Rose Wilder Lane, combines analyses of both women to explore this collaborative process and shows how their books reflect the authors’ distinctive views of place, time, and culture. Along the way, he addresses the two most controversial issues for Wilder/Lane aficionados: how much did Lane actually contribute to the writing of the Little House books, and what was Wilder’s real attitude toward American Indians. Interpreting these writers in their larger historical and cultural contexts, Miller reconsiders their formidable artistic, political, and literary contributions to American cultural life in the 1930s. He looks at what was happening in 1932—from depression conditions and politics to chain stores and celebrity culture—to shed light on Wilder’s life, and he shows how actual “little houses” established ideas of home that resonated emotionally for both writers. In considering each woman’s ties to history, Miller compares Wilder with Frederick Jackson Turner as a frontier mythmaker and examines Lane’s unpublished history of Missouri in the context of a contemporaneous project, Thomas Hart Benton’s famous Jefferson City mural. He also looks at Wilder’s Missouri Ruralist columns to assess her pre–Little House values and writing skills, and he readdresses her literary treatment of Native Americans. A final chapter shows how Wilder’s and Lane’s conservative political views found expression in their work, separating Lane’s more libertarian bent from Wilder’s focus on writing moralist children’s fiction. These nine thoughtful essays expand the critical discussion on Wilder and Lane beyond the Little House. Miller portrays them as impassioned and dedicated writers who were deeply involved in the historical changes and political challenges of their times—and contends that questions over the books’ authorship do not do justice to either woman’s creative investment in the series. Miller demystifies the aura of nostalgia that often prevents modern readers from seeing Wilder as a real-life woman, and he depicts Lane as a kindred artistic spirit, helping readers better understand mother and daughter as both women and authors.

A hardened exile It had taken Lucien Rosier fifteen years at war to rebuild himself after he lost his family. To remake himself, he had left behind even his name. Now a captain in the Foreign Legion, the last thing he wanted was to face his past. Even for her... A woman longing for a home Lucien Rosier had been her hero once, when everyone else had turned away. Now it was Elena Lyon's turn to rescue him. If she could teach him to believe in love and family again, she would pay back her debts. But after a lifetime of abandonment, she wasn't about to make the mistake of believing in love herself. Not even for him... Could two broken hearts find in each other exactly what they needed to heal?

Laura Rose White's late father taught her everything he knew about piloting a Missouri River steamboat. He even named their boat after her. Despite that, it seems that Laura will forever be a "cub pilot" to her brother Joe, because in 1867, a female riverboat captain is unheard of. That is, until tragedy strikes and Laura must make the two month journey from St. Louis to Fort Benton and back in order to save her family's legacy, her home, and the only life she's ever known. The only way for her to overcome the nearly insurmountable odds is with the help of her brother's disreputable friend Finn MacKnight, a skilled pilot with a terrible reputation. Laura loathes having to accept MacKnight as her co-pilot, especially when she learns she must also provide passage for his two sisters. Straight-laced Fiona has a fear of water, and unpredictable Adele seems much too comfortable with the idea of life in the rough and tumble environment of the untamed river and the men who ply it. Though they are thrown together by necessity, this historic journey may lead Laura and the MacKnights to far more than they ever expected.

In 1929 New York City, twelve-year-old housemaid Martha O'Doyle suspects that a wealthy recluse may be trying to communicate with the outside world through the paintings on her gallery walls.