There are two things I know for certain: horses are better than people, and women are more trouble than they're worth. The revolution in Paravel was a celebration, for most. There's just a different set of assholes at the top, kicking down the ones below them. And that's where I am, at the bottom of the pile, and luscious and brazen Lady Aubrey is at the very top. She parades around my stables like she owns the place, wiggling that fine ass in her tight-fitting jodhpurs. It's not the first time a society girl has thrown herself at me to make Daddy angry, but this is the first one I've wanted to catch and toss down in the hay. Aubrey is a filly who refuses to be tamed. I'm determined to break her in and make her mine--before my family's past rears its ugly, traitorous head, and she's snatched from me forever. AUTHOR'S NOTE: Cassian Bellerose is a bad-tempered beast with his eye on a high-class filly. The Court of Paravel books continue chronologically. It's recommended that they're read in order.

A landmark American drama that inspired a classic film and a Broadway revival—featuring an introduction by David Mamet A blistering character study and an examination of the American melting pot and the judicial system that keeps it in check, Twelve Angry Men holds at its core a deeply patriotic faith in the U.S. legal system. The play centers on Juror Eight, who is at first the sole holdout in an 11-1 guilty vote. Eight sets his sights not on proving the other jurors wrong but rather on getting them to look at the situation in a clear-eyed way not affected by their personal prejudices or biases. Reginald Rose deliberately and carefully peels away the layers of artifice from the men and allows a fuller picture to form of them—and of America, at its best and worst. After the critically acclaimed teleplay aired in 1954, this landmark American drama went on to become a cinematic masterpiece in 1957 starring Henry Fonda, for which Rose wrote the adaptation. More recently, Twelve Angry Men had a successful, and award-winning, run on Broadway. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Pamela Gillilan was born in London in 1918, married in 1948 and moved to Cornwall in 1951. When she sat down to write her poem Come Away after the death of her husband David, she had written no poems for a quarter of a century. Then came a sequence of incredibly moving elegies. Other poems followed, and two years after starting to write again, she won the Cheltenham Festival poetry competition. Her first collection That Winter (Bloodaxe, 1986) was shortlisted for the Commonwealth Poetry Prize.

Book description to come.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

An informative in-depth look at the lives of several extraterrestrials (E.T.'s), Extraterrestrial Biological Entities (E.B.E.'s ), and aliens, what their lives are like on their planets in their galaxies, what their spaceships are like, and how they are connected to us here on Earth. In addition, the book delves into how they are important to our religion and military strength. This novel also looks at some historical revelations, future predictions, and current happenings including an interesting collection of anecdotes regarding an ex-CIA agent who gets his wishes granted. It's the author's intention to, at the very least, bridge the gaps that exist between the religions of our generation. One gap is between our present long standing accepted knowledge of our concept of God, and our comprehensible real God. As well, a gap exists between how we are told we should interpret and demonstrate the meaning of God and how we show our faith and prove our belief in the living Creator. These are some things that the author thinks everyone needs to know about God, Satan, and UFOs. This book has been a long time in the making, twenty years, but somehow it still manages to remain ahead of its time, in most cases.