Nothing interferes with Shane Hollander’s game—definitely not the sexy rival he loves to hate. Pro hockey star Shane Hollander isn’t just crazy talented, he’s got a spotless reputation. Hockey is his life. Now that he’s captain of the Montreal Voyageurs, he won’t let anything jeopardize that, especially the sexy Russian whose hard body keeps him awake at night. Boston Bears captain Ilya Rozanov is everything Shane’s not. The self-proclaimed king of the ice, he’s as cocky as he is talented. No one can beat him—except Shane. They’ve made a career on their legendary rivalry, but when the skates come off, the heat between them is undeniable. When Ilya realizes he wants more than a few secret hookups, he knows he must walk away. The risk is too great. As their attraction intensifies, they struggle to keep their relationship out of the public eye. If the truth comes out, it could ruin them both. But when their need for each other rivals their ambition on the ice, secrecy is no longer an option… One-click with confidence. This title is part of the Carina Press Romance Promise: all the romance you’re looking for with an HEA/HFN. It’s a promise! This book is approximately 66,000 words

An extraordinary novel inspired by the real-life sorority targeted by America's first celebrity serial killer in his final murderous spree. January 1978. A serial killer has terrorized women across the Pacific Northwest, but his existence couldn’t be further from the minds of the vibrant young women at the top sorority on Florida State University’s campus in Tallahassee. Tonight is a night of promise, excitement, and desire, but Pamela Schumacher, president of the sorority, makes the unpopular decision to stay home—a decision that unwittingly saves her life. Startled awake at 3 a.m. by a strange sound, she makes the fateful decision to investigate. What she finds behind the door is a scene of implausible violence—two of her sisters dead; two others, maimed. Over the next few days, Pamela is thrust into a terrifying mystery inspired by the crime that’s captivated public interest for more than four decades. On the other side of the country, Tina Cannon has found peace in Seattle after years of hardship. A chance encounter brings twenty-five-year-old Ruth Wachowsky into her life, a young woman with painful secrets of her own, and the two form an instant connection. When Ruth goes missing from Lake Sammamish State Park in broad daylight, surrounded by thousands of beachgoers on a beautiful summer day, Tina devotes herself to finding out what happened to her. When she hears about the tragedy in Tallahassee, she knows it’s the man the papers refer to as the All-American Sex Killer. Determined to make him answer for what he did to Ruth, she travels to Florida on a collision course with Pamela—and one last impending tragedy. Bright Young Women is the story about two women from opposite sides of the country who become sisters in their fervent pursuit of the truth. It proposes a new narrative inspired by evidence that’s been glossed over for decades in favor of more salable headlines—that the so-called brilliant and charismatic serial killer from Seattle was far more average than the countless books, movies, and primetime specials have led us to believe, and that it was the women whose lives he cut short who were the exceptional ones.

As a writer, both in English and Tamil, Mr. Madhaviah needs no introduction. Readable versions of the great classics of Tamil Literature have long been a desideratum, and all efforts to remove the want are worthy of commendation. Among the great classics of Tamil Manimekalai deservedly occupies a high place, having had its praise sung by such a discerning critic of great judgment as Sivaprakasa Swamigal. Silappadhikaram and Manimekalai constitute a twin epic and ought to go together. The authors were friends, and the stories run one into the other. The princely author of the first belonged to the royal house of Vanji, the Chera capital on the West Coast. His friend, the author of the second, was a corn merchant of Madura, the critic par excellence of the “Third Sangam.” Though tradition does not in so many words declare that these works went before the Sangam and received its imprimatur, Tamil scholarship is unanimous in regarding these as “Sangam Works,” properly so called. Not-withstanding much irrelevant and inconclusive writing, the age of the “Third Sangam” is about the second century after Christ; no valid reason has so far been offered to the contrary.Manimekalai is a work of a dramatic-epic character, and has for its subject-matter the renunciation of the heroine. As it treats of this subject it has necessarily to find its setting in contemporary life and thought. While it may be readily taken as a picture of Tamil life in the age of Senguttuvan, its use for purposes of history requires not merely “the insight and imagination” that Lord Morley demands, but a fully developed historic sense which could separate, by sound criticism, the historical grain lying hidden in the chaff of legend and tradition. In qualified hands it provides considerable material for the history of the age, and a few data of an important character for Tamil literary history.It is to be hoped that the English version now placed before the public will lead to a wider study of the poem itself, and a better appreciation of its merits.

From her place in the store, Klara, an Artificial Friend with outstanding observational qualities, watches carefully the behavior of those who come in to browse, and of those who pass on the street outside. She remains hopeful that a customer will soon choose her, but when the possibility emerges that her circumstances may change forever, Klara is warned not to invest too much in the promises of humans. In Klara and the Sun, Kazuo Ishiguro looks at our rapidly changing modern world through the eyes of an unforgettable narrator to explore a fundamental question: what does it mean to love?

Dans Fin de partie, il y a déjà cette notion d'immobilité, cette notion d'enfouissement. Le personnage principal est dans un fauteuil, il est infirme et aveugle, et tous les mouvements qu'il peut faire c'est sur son fauteuil roulant, poussé par un domestique, peut-être un fils adoptif, qui est lui-même assez malade, mal en point, qui marche difficilement. Et ce vieillard a ses parents encore, qui sont dans des poubelles, son père et sa mère qu'on voit de temps en temps apparaître et qui ont un très charmant dialogue d'amour. Nous voyons deux êtres qui se déchirent, qui jouent une partie comme une partie d'échecs et ils marquent des points, l'un après l'autre, mais celui qui peut bouger a peut-être une plus grande chance de s'en tirer, seulement ils sont liés, organiquement, par une espèce de tendresse qui s'exprime avec beaucoup de haine, de sarcasme, et par tout un jeu. Par conséquent, il y a dans cette pièce — qui est à un niveau théâtral absolument direct, où il n'y a pas d'immense symbole à chercher, où le style est d'une absolue simplicité —, il y a cette espèce de jeu qu'ils se font l'un à l'autre, et qui se termine aussi d'une façon ambiguë parce que le suspense dérisoire de la pièce, s'il y a suspense, c'est ce fils Clov, partira-t-il ou non ? Et on ne le sait pas jusqu'à la fin. Je dois dire aussi que c'est une pièce comique. Les exégètes de Beckett parlent d'un « message », d'une espèce de chose comme ça. Ils oublient de dire le principal, c'est que c'est une chose qui est une découverte du langage, de faire exploser un langage très quotidien. Il n'y a pas de littérature plaquée, absolument pas. Faire exploser un langage quotidien où chaque chose est à la fois comique et tragique.

Zes broers had ze. Vijf zijn verdronken op zee, zegt haar stiefmoeder, zegt haar vader. En dat is vreselijk natuurlijk, maar het leven gaat door. Want dat gaat het nu eenmaal altijd. Eliza wil niet door, ze wil hen zoeken, al moet ze er helemaal voor naar de Witte Kliffen. Ze gaat op weg, samen met het broertje dat ze nog wel heeft: Krekel. Een bangerik, een huilebalk, een blok aan haar been, eigenlijk. Alles gaat mis, maar Eliza en Krekel blijven zoeken. Door de storm. Tegen de wind. Tegen wat iedereen zegt en vindt.

Pictures of Travel. In Sweden, among the Hartz Mountains, and in Switzerland, with a visit at Charles Dickens's house, etc. [A translation of "I Sverrig," "Skyggebilleder af en Reise til Harzen," and part of "Reiseskizzer."] British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The HISTORY OF TRAVEL collection includes books from the British Library digitised by Microsoft. This collection contains personal narratives, travel guides and documentary accounts by Victorian travelers, male and female. Also included are pamphlets, travel guides, and personal narratives of trips to and around the Americas, the Indies, Europe, Africa and the Middle East. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition ++++ British Library Andersen, H. C.; 1871. vi. 293 p.; 8 . 10027.bb.20.

Swedish / Svenska