Tormented by her sister’s killer, a single mother is desperate to protect her daughter in this twisting romantic suspense novel. It’s been eighteen years since Laney Thompson’s sister was abducted and killed, but the pain Laney feels has never faded. And now the murderer is back, taunting Laney with mementos of her sister and threatening Laney’s young daughter. School principal Noah Ryder is her best hope for protecting her daughter—if she can convince the former investigator to take the case. As the killer closes in, Laney begins to uncover dark and disturbing secrets. But without Noah’s help, how can she piece together the puzzle before her child—like her sister—is lost to a killer’s revenge?

The word Gothic has connotations of violence and grotesqueness. The popular Gothic elements are blood and gore, unnatural and supernatural occurrences, eerie passages, mystery, haunted castles, ghosts, perambulating skeletons, numerous death in a gory manner, Byronic love, passion and revenge. As Virginia Woolf rightly calls them, they are “the strange human need for feeling afraid.” It is the Hyde in every Jekyll that makes one take to the gothic. The British Revenge Tragedies, embedded with these elements, serve as forerunner of the gothic genre. In The Jew of Malta, we find the barbaric, scheming Machiavellian Barabas that plots the evil actions in the play that leads to mass graves and, eventually, himself being burned alive in a cauldron. In The Spanish Tragedy, Andrea’s ghost and Revenge; discovery of the mangled body of Horatio and the blood-stained handkerchief; letter written with blood and Hieronimo cutting out his tongue are the major Gothic elements. In Hamlet, the ghost of Hamlet’s father; the violent stabbing of Polonius; the grave digger’s eulogizing death and the introduction of Yorick’s skull never fail in creating chills down the spine of any reader. Ian Jack observes on Webster’s plays that The White Devil and The Duchess of Malfi, have no other purpose other than making the audience’s ‘flesh creep.’ Thus, gothic as a genre, has been strongly haunting literature and would still continue to haunt, not only literature but also life.

The archaic context of vengeance -- Vengeance in the Odyssey: tisis as narrative -- Three narratives of divine vengeance -- Odysseus' terrifying revenge -- The multiple meanings of Odysseus' triumphs -- The end of the Odyssey.

Hiding in the Texas desert… with a vengeful cartel in pursuit. After Texas Ranger Brianna Macguire catches up with the fugitive she’s hunting, she finds herself ensnared in the crosshairs of a revenge-driven cartel—and evading a sniper attack. Cameron Wolfe, a man in hiding and with a bounty on his head, offers Bree shelter…only for Cameron’s secrets and Bree’s attackers to catch up with them both. While they're on the run in the Texas desert, danger stalks them at every turn. Can they outwit their relentless enemies before they both lose their lives? From Love Inspired Suspense: Courage. Danger. Faith.

This examination of the last two tales of Cervantes' Novelas ejemplares reveals the Christian Humanist tradition implicit in the most elusive works of the collection. In his study of El casamiento enganoso and El coloquio de los perros Alban Forcione demonstrates that Cervantes retained in their ostensible pessimism the themes of Erasmus' vision of the renovation of Christianity. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

"Fair Philosopher, the first sustained scholarly study of The Female Spectator, brings together an impressive collection of established and upcoming Haywood scholars who challenge much of the received opinion about this groundbreaking journal. Several of the essays show that Haywood's periodical was far more political than is generally thought, that its connections to her career as a novelist are more intimate than has been recognized, and that The Spectator was a target as well as a model. This collection makes a convincing argument that Haywood's periodical deserves far more critical attention than it has received so far and suggests new lines of development for future Haywood scholarship."--Publisher's website.