A search for one missing person is just the beginning...

A bad boy firefighter is drawn to the flaming hot passion he finds close to home in the New York Times–bestselling author’s dangerously sexy romance. As a member of the elite Hotshot firefighting team, Cody Mallehan is happy to jump from one dangerous situation to another. So getting attached to anything—or anyone—is the one risk he’s not willing to take. The “bad boy” reputation he’s carefully cultivated has always served to keep people at a distance. Until his gorgeous new landlady tempts him to get very, very close. Serena Beaumont is consumed with maintaining her aging but beautiful boardinghouse. A home where she hopes to one day raise a family. She can’t afford lusty thoughts about her newest boarder, his ripped body or his wicked reputation. But even the promise of getting burned won’t stop Serena from seducing the hottest man she’s ever met . . .

Adrian Mole's first love, Pandora, has left him; a neighbor, Mr. Lucas, appears to be seducing his mother (and what does that mean for his father?); the BBC refuses to publish his poetry; and his dog swallowed the tree off the Christmas cake. "Why" indeed.

"Lurie takes particular interest in the influence of cinema on Faulkner's fiction and the visual strategies he both deployed and critiqued. These include the suggestion of cinematic viewing on the part of readers and of characters in each of the novels; the collective and individual acts of voyeurism in Sanctuary and Light in August; the exposing in Absalom! Absalom! and Light in August of stereotypical and cinematic patterns of thought about history and race; and the evocation of popular forms like melodrama and the movie screen in If I forget thee, Jerusalem. Offering innovative readings of these canonical works, this study sheds new light on Faulkner's uniquely American modernism."--BOOK JACKET.

Frederick Douglass recounts early years of abuse, his dramatic escape to the North and eventual freedom, abolitionist campaigns, and his crusade for full civil rights for former slaves. It is also the only of Douglass's autobiographies to discuss his life during and after the Civil War, including his encounters with American presidents such as Lincoln, Grant, and Garfield.