A detective and a defense lawyer are on opposite sides of law and order—and love—in this swoon-worthy read from the author of Too Damn Nice. Does a girl ever really learn from her mistakes? Det. Sgt. Megan Taylor thinks so. She once lost her heart to a man who was too charming, and she isn’t about to make the same mistake again—especially not with sexy defense lawyer Scott Armstrong. Aside from being far too sure of himself for his own good, Scott’s major flaw is that he defends the very people she works so hard to imprison. But when Scott wants something he goes for it. And he wants Megan. One day she’ll see him not as a lawyer, but as a man . . . and that’s when she’ll fall for him. Yet just as Scott seems to be making inroads, a case presents itself that’s far too close to home, throwing his life into chaos. As Megan helps him pick up the pieces, can he persuade her he isn’t the careless charmer she thinks he is? Isn’t a man innocent until proven guilty? “Too Charming is the perfect feel-good, romantic read! If you like a strong independent heroine and a cocky, yet gorgeous hero, then this book will have you swooning!” —Old Victorian Quill
“An absolutely heartwarming and thoroughly absorbing Christmas read” that brings together sweet romance and holiday cheer (Books and Me). For Melissa, Christmas has never been a very happy time. From her cold, distant parents to her manipulative ex-husband, Lawrence, she’s never experienced the warmth of the festive season, with a big happy family sitting around the table. Melissa is used to going without the holiday spirit, but it breaks her heart to see what it’s doing to her seven-year-old son, William. While most little boys wait with excitement for the big day, William finds it difficult to believe that Father Christmas even exists. Then the charming, kind-hearted Daniel McCormick comes into their lives. And with his help, Melissa and William might just have a Christmas where all of their wishes come true.
In this “hidden gem” from the author of Do Opposites Attract?, a supermodel takes the fashion world by storm, but just may fall for the boy next door (Long and Short Reviews). Lizzie Donavue went from being the sister of his best friend to the girl Nick Templeton most wants to kiss. On her birthday, he finally summons up the courage to make his move. But it looks like Nick’s missed his chance when he discovers that Lizzie has been offered a modeling contract, which will take her away to the glamorous fashion scenes of New York and Los Angeles. Nick is forced to watch from the sidelines as the gawky teenager he knew is transformed into Elizabeth Donavue: top model and ultimate English rose pin-up, forever caught in a whirlwind of celebrity parties with the next up-and-coming Hollywood bad boy by her side. But then Lizzie’s star-studded life comes crashing down around her, and a guy like Nick could be just what she needs. Will she take a chance on him? Or is he just too damn nice? “Too Damn Nice explores love, loss, grief and being able to forgive yourself. It’s a brilliant book and I really enjoyed it. Nick is my new book crush. I’ll take nice over bad boy any day!” —Brook Cottage Books “A book filled with love, laughter, tears and misunderstandings . . . It just goes to prove that Kathryn Freeman doesn’t write superficial chicklit, it’s as deep and thought-provoking as you want to be.” —The Book Magnet
In her study of newly recovered works by British women, Kathryn Freeman traces the literary relationship between women writers and the Asiatic Society of Bengal, otherwise known as the Orientalists. Distinct from their male counterparts of the Romantic period, who tended to mirror the Orientalist distortions of India, women writers like Phebe Gibbes, Elizabeth Hamilton, Sydney Owenson, Mariana Starke, Eliza Fay, Anna Jones, and Maria Jane Jewsbury interrogated these distortions from the foundation of gender. Freeman takes a three-pronged approach, arguing first that in spite of their marked differences, female authors shared a common resistance to the Orientalists’ intellectual genealogy that allowed them to represent Vedic non-dualism as an alternative subjectivity to the masculine model of European materialist philosophy. She also examines the relationship between gender and epistemology, showing that women’s texts not only shift authority to a feminized subjectivity, but also challenge the recurring Orientalist denigration of Hindu masculinity as effeminate. Finally, Freeman contrasts the shared concern about miscegenation between Orientalists and women writers, contending that the first group betrays anxiety about intermarriage between East Indian Company men and indigenous women while the varying portrayals of intermarriage by women show them poised to dissolve the racial and social boundaries. Her study invites us to rethink the Romantic paradigm of canonical writers as replicators of Orientalists’ cultural imperialism in favor of a more complicated stance that accommodates the differences between male and female authors with respect to India.
Focusing on Samuel Taylor Coleridge, Mary Robinson and Mary Shelley, this book uses key concepts of androgyny, subjectivity and the re-creative as a productive framework to trace the fascinating textual interactions and dialogues among these authors. It crosses the boundary between male and female writers of the Romantic period by linking representations of gender with late Enlightenment upheavals regarding creativity and subjectivity, demonstrating how these interrelated concerns dismantle traditional binaries separating the canonical and the noncanonical; male and female; poetry and prose; good and evil; subject and object. Through the convergences among the writings of Coleridge, Mary Robinson, and Mary Shelley, the book argues that each dismantles and reconfigures subjectivity as androgynous and amoral, subverting the centrality of the male gaze associated with canonical Romanticism. In doing so, it examines key works from each author's oeuvre, from Coleridge's “canonical” poems such as Rime of the Ancient Mariner, through Robinson's lyrical poetry and novels such as Walsingham, to Mary Shelley's fiction, including Frankenstein, Mathilda, and The Last Man.
It is not surprising that visitors to Blake’s cosmology – the most elaborate in the history of British text and design – often demand a map in the form of a reference book. The entries in this volume benefit from the wide range of historical information made available in recent decades regarding the relationship between Blake’s text and design and his biographical, political, social, and religious contexts. Of particular importance, the entries take account of the re-interpretations of Blake with respect to race, gender, and empire in scholarship influenced by the groundbreaking theories that have arisen since the first half of the twentieth century. The intricate fluidity of Blake’s anti-Newtonian universe eludes the fixity of definitions and schema. Central to this guide to Blake's work and ideas is Kathryn S. Freeman's acknowledgment of the paradox of providing orientation in Blake’s universe without disrupting its inherent disorientation of the traditions whereby readers still come to it. In this innovative work, Freeman aligns herself with Blake’s demand that we play an active role in challenging our own readerly habits of passivity as we experience his created and corporeal worlds.
Blake's Nostos establishes The Four Zoas, Blake's controversial, unfinished epic, as the culmination of the poet's mythos. Kathryn S. Freeman shows that, in its freedom to experiment with nontraditional narrative, this prophetic book is Blake's fullest representation of nondual vision as it coexists with the material world. Blake's scheme of consciousness eliminates the Enlightenment hierarchy of faculties in a structure centered around a nondual vision operating through and subsuming the fragmented world. The author draws on the analogue of Eastern philosophy to describe Blake's nondualism. According to this interpretation of Blake's epic, consciousness itself is the hero whose nostos is the apocalyptic return to wholeness from the multiple ruptures that comprise the fragmenting journey of Albion's dualistic dream. Blake's Nostos demonstrates that for each of the central elements of myth—causality, narratology, figuration, and teleology—Blake superimposes such dual and nondual perspectives as time and eternity as well as bounded space and infinity.
He is Yo Himomura, deadly assassin for the 108 Dragons, the Chinese Mafia. But to the criminal underworld who fear him, he is known as Crying Freeman, the killer who sheds tears at the fate of his victims. A young, handsome, sensitive artist, Yo has been hypnotically programmed by his Dragon masters to kill on command: he cannot resists his masters' commands to kill; his masters cannot stop his tears of remorse. Written by the legendary Kazuo Koike, creator of Lone Wolf and Cub, and illustrated by the incomparable Ryoichi Ikegami, Crying Freeman is adult manga at its darkest.
Following on from the success of her first romantic comedy (Too Damn Nice) Kathryn delivers another fun and ditzy heroine - but with a sharp business mind and a heart of gold. Sometimes life just takes the biscuit ... Abby Spencer knows she can come across as an airhead - she talks too much and is a bit of a klutz - but there's more to her than that. Though she sacrificed her career to help raise her sisters, a job interview at biscuit company Crumbs could finally be her chance to shine. That's until she hurries in late wearing a shirt covered in rusk crumbs, courtesy of her baby nephew, and trips over her handbag. Managing director Douglas Faulkner isn't sure what to make of Abby Spencer with her Bambi eyes, tousled hair and ability to say more in the half-hour interview than he manages in a day. All he knows is she's a breath of fresh air and could bring a new lease of life to the stale corporate world of Crumbs. To his life too, if he'd let her. But Doug's harbouring a secret. He's not the man she thinks he is. AUTHOR: Kathryn Freeman was born in Wallingford, England but has spent most of her life living in a village near Windsor. After studying pharmacy in Brighton she began her working life as a retail pharmacist. She quickly realised that trying to decipher doctor's handwriting wasn't for her and left to join the pharmaceutical industry where she spent twenty happy years working in medical communications. In 2011, backed by her family, she left the world of pharmaceutical science to begin life as a self-employed writer, juggling the two disciplines of medical writing and romance. Some days a racing heart is a medical condition, others it's the reaction to a hunky hero...
The True Body Project literary journal is a collection of poem, stories and essays by thirteen teenage girls who participated in a pilot program called the True Body Project in Cincinnati, Ohio in 2005. The girls spent six weeks exploring body, voice, gender, identity and self-esteem via a movement and writing. This is the result of their efforts. See www.truebodyproject.org for more information.
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