The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.

I have a dog. An inconvenient dog. When I wake up, my dog is inconvenient. When I'm getting dressed, my dog is inconvenient. And when I'm making tunnels, my dog is SUPER inconvenient. But sometimes, an inconvenient dog can be big and warm and cuddly. Sometimes, an inconvenient dog can be the most comforting friend in the whole wide world.

This is a book about the white stolen children - a lost tribe - who were sent to Australia with dreams of a better life, but who, in reality, often suffered great cruelty and abuse. 'This book draws back the curtain on a part of Australian and British history that has been crying out for recognition. All Australians shoud read it' Sir Ronald Wilson 'This story is remarkable. Even more remarkable is the fact that, until now, it was largely untold. This is an important story, an important part of Australia's story and long overdue' David Hill 'Orphans of the Empire is unusually affecting, hard to put down..' Geraldine Doogue An account of the white 'stolen children', who were supposedly orphans arriving in Australia from many countries to a better future, but who in reality simply came from poor families and arrived to uncertain futures and often extremely abusive environments in various institutions. More than 80,000 people were directly involved in this experience as 'orphans', while thousands more have been affected by the experience as children and relatives of the orphans, and as Australian-born children who were also living in the institutions described in this book. Although there were occasional great acts of kindness towards these children there was also systematic abuse of all kinds. Orphans of the Empire is based on hundreds of hours of taped interviews with men and women who came to Australia as child migrants. It is the complete and shocking story that was first made known through 4 Corners and 60 Minutes stories and the BBC's very popular Leaving Of Liverpool series.

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Jessica Martin is not a nice girl. As Prom Queen and Captain of the cheer squad, she'd ruled her school mercilessly, looking down her nose at everyone she deemed unworthy. The most unworthy of them all? The "freak," Manson Reed: her favorite victim. But a lot changes after high school. A freak like him never should have ended up at the same Halloween party as her. He never should have been able to beat her at a game of Drink or Dare. He never should have been able to humiliate her in front of everyone. Losing the game means taking the dare: a dare to serve Manson for the entire night as his slave. It's a dare that Jessica's pride - and curiosity - won't allow her to refuse. What ensues is a dark game of pleasure and pain, fear and desire. Is it only a game? Only revenge? Only a dare? Or is it something more? The Dare is an 18+ erotic romance novella and a prequel to the Losers Duet. Reader discretion is strongly advised. This book contains graphic sexual scenes, intense scenes of BDSM, and strong language. A full content note can be found in the front matter of the book.

The American cowboy emerges from these pages as a recognizable human being with little resemblance to the picturesque inventions of the horse opera. Ramon F. Adams, a highly respected authority on the old West, talks straight about what the cowhand really did and thought. His cow-punching, broncobusting, trail driving; his rodeo riding, poker playing, socializing; his horse, guns, rope, clothing, sleeping bag; his eating and drinking habits; his attitude toward God, women, bosses; his unwritten code of conduct—everything about this vanished breed is told with absorbing authenticity, in the rich and varied lingo of the range.