As far as Heidi was concerned, Dillon Archer was trouble. He'd wrecked her father's business, and now seemed determined to destroy her own peace of mind-through the sheer impact of his powerful, magnetic presence! But his true intentions were a mystery...could she trust him? Or would falling in love with this man be an invitation to heartache?
Persuading a millionaire to part with a fortune seemed like mission impossible. Especially when he was Marcus Herrington - Susannah's first love... Eight years ago, Marcus had stormed out of her life, believing she was having another man's baby. So convincing him to part with money in a good cause was tricky - even more so when Marcus insisted negotiations take place in the bedroom! Susannah was no longer sure if the playboy assignment was business, or pleasure...
Being the boss's daughter was tough especially when Amy found herself temporarily in charge of the company! Worse her assistant was the extremely handsome dynamic Dylan Copeland. He was so intent on keeping an eye on her that Amy began to wonder who exactly was in charge! But was Dylan getting so closed to Amy for professional or personal reasons? The man gave nothing away, and Amy wasn't sure if it was ambition or seduction on his mind! And working side by side the tension was reaching boiling point.
When Jarrett Webster challenged Kit to organise a charity fundraiser, a Bachelor Auction seemed ideal -- with Jarrett as the prize! Surprisingly, Jarrett was completely happy to offer an intimate date on his private island. A holiday in paradise, with the sexiest man on earth! Kit couldn't help thinking how exciting it would be if she could win the billionaire date...
How could liberalism and apartheid coexist for decades in our country, as they did during the first half of the twentieth century? This study looks at works by such writers as Thomas Dixon, Erskine Caldwell, Zora Neale Hurston, William Faulkner, and Ralph Ellison to show how representations of time in southern narrative first accommodated but finally elucidated the relationship between these two political philosophies. Although racial segregation was codified by U.S. law, says Leigh Anne Duck, nationalist discourse downplayed its significance everywhere but in the South, where apartheid was conceded as an immutable aspect of an anachronistic culture. As the nation modernized, the South served as a repository of the country's romantic notions: the region was represented as a close-knit, custom-bound place through which the nation could temper its ambivalence about the upheavals of progress. The Great Depression changed this. Amid economic anxiety and the international rise of fascism, writes Duck, "the trope of the backward South began to comprise an image of what the United States could become." As she moves from the Depression to the nascent years of the civil rights movement to the early cold war era, Duck explains how experimental writers in each of these periods challenged ideas of a monolithically archaic South through innovative representations of time. She situates their narratives amid broad concern regarding national modernization and governance, as manifest in cultural and political debates, sociological studies, and popular film. Although southern modernists' modes and methods varied along this trajectory, their purpose remained focused: to explore the mutually constitutive relationships between social forms considered "southern" and "national.
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