From the author of In My Wild Dreams, the sixth in Sasha Lord's touching romance series. Emotionally scarred by his many years on the battlefield, Mangan, son of the powerful earl of Kirkcaldy, seeks forgiveness by embarking on a religious quest before committing to a life of cloistered celibacy. But his disturbing attraction to a “dark angel,” an exquisite gypsy woman who has just witnessed the murder of her parents, puts him on a far different path. Obsessed with a craving for revenge, and hiding a terrible secret, Ashleigh uses her skill for trickery and illusion—taught to her from birth—to torment the people she believes are hiding her parents’ killer. But her overwhelming attraction to the warrior-monk Mangan wrecks her emotions and upsets all her plans. As Mangan and Ashleigh join together to uncover what they soon realize is a diabolical plot to unseat the king of Scotland, they also struggle to understand the powerful forces at work between them—a passion that stirs their blood, a desire to heal that mends their souls…and a love that unites their hearts.

Ronan was a legend among men... and the last thing he needed was a troublesome woman. Yet this fierce Irish warrior took a deathbed oath to protect a chieftain's rebellious daughter. Triona was a hellion of a woman...who would let no man rule her. Raised in the ways of a warrior, she defied Ronan's every command. So he planned to marry her off, to be rid of the wild lass forever. But in the heat of battle--enflamed by her passionate spirit--Ronan decided he wanted this beautiful, impossible woman for himself!

The four Cares children make things lively for themselves and the neighbors.

Embarking on a religious quest for redemption after serving many years on the battlefield, warrior monk Mangan finds his journey taking a different and dangerous path when he encounters an exotic Gypsy woman who has just witnessed the murder of her parents. Original.

From The Wild Angels in 1966 until its conclusion in 1972, the cycle of outlaw motorcycle films contained forty-odd formulaic examples. All but one were made by independent companies that specialized in producing exploitation movies for drive-ins, neighborhood theaters, and rundown inner city theaters. Despised by critics, but welcomed by exhibitors denied first-run films, these cheaply and quickly produced movies were made to appeal to audiences of mobile youths. The films are repetitive, formulaic, and eminently forgettable, but there is a story to tell about all of the above, and it is one worth hearing. Hoodlum Movies is not only about the films, its focus is on why and how these films were made, who they were made for, and how the cycle developed through the second half of the 1960s and came to a shuddering halt in 1972.

The pervasive image of New York's 42nd Street as a hub of sensational thrills, vice and excess, is from where “grindhouse cinema,” the focus of this volume, stemmed. It is, arguably, an image that has remained unchanged in the mind's eye of many exploitation film fans and academics alike. Whether in the pages of fanzines or scholarly works, it is often recounted how, should one have walked down this street between the 1960s and the 1980s, one would have undergone a kaleidoscopic encounter with an array of disparate “exploitation” films from all over the world that were being offered cheaply to urbanites by a swathe of vibrant movie theatres. The contributors to Grindhouse: Cultural Exchange on 42nd Street, and Beyond consider “grindhouse cinema” from a variety of cultural and methodological positions. Some seek to deconstruct the etymology of “grindhouse” itself, add flesh to the bones of its cadaverous history, or examine the term's contemporary relevance in the context of both media production and consumerism. Others offer new inroads into hitherto unexamined examples of exploitation film history, presenting snapshots of cultural moments that many of us thought we already knew.

Jenny's little brother Davy is very ill and her mother says that no one will be able to keep him alive. But Jenny thinks that as long as she watches over Davy, nothing can happen. An emotionally charged story about a young girl's courageous stand, and the uncertainty and beauty of life.