*Revised November 2024* Academic rivals and an ancient prophecy. Maeve is the only Magical with the ability to jump through minds. Mal is the youngest Supreme in history. Who is the prophesied Dread Descendant? And will they save the Magical’s home realm before the darkness destroys their Magic completely? “Maeve crossed the hall between them with confidence. In three short steps, she stood before his throne. A decaying skull broach appeared on his breast pocket. The final piece of his Dread Mark. She and Abraxas were the mouth and the sword. He was Death incarnate.” Dark Magic comes at a cost, but Maeve Sinclair is willing to sacrifice more than just her Magic in exchange for freedom. She is the only witch with the ability to jump through minds. She and her magical world live in hiding on Earth, desperately waiting for the rise of the prophesied Dread Descendant. While praying for this Prince of Darkness to return them to their ancient home realm, the humans wage wars that threaten magic's very existence on Earth. When an unlikely friendship with Malachite Peur blossoms at the most prestigious magical academy in the world, the pair discovers that together they could be unstoppable.

Carter Kensington is charming, funny, and kind—he’s Briar Roses’ most eligible bachelor, a billionaire who drives fast cars and curates priceless paintings. While he’s never been particularly glamorized by his wealth, he’s certainly used to getting everything he wants. Except when it comes to her. A fact that drives him crazy. Maybe even crazy enough to abandon his riches and try to pursue a fresh start. Key word try. Sarafina Devereux might seem like your average girl next door, except for the fact that she grew up in the elite upper echelons of society. A brilliant artist—equal parts prankster and ball of anxious nerves, she always did find it hard to ask for what she wanted. Especially when it comes to her older brother’s best friend—the orphaned neighbor boy she grew up crushing on. Their long running game of Truth or Dare—her only way of getting his attention. Little does she know… she’s always had it. Both Carter and Sara keep their own secrets, but when a tragic death turns everyone’s lives upside down, and a villainous secret society pulls the strings in the background—hard enough to snap. Carter will do whatever it takes to protect the girl he’s always loved… even if it means turning morally gray to save her. Dangerous Little Dares is a slow burn, friends to lovers romance—a romantic comedy smashed up with a romantic suspense. It’s sexy, dangerous, thrilling and hilariously clever. Heartfelt and emotional, it will make you laugh, cry, and clench your thighs. This is Book One in The Society of Secrets, a series of happily ever after standalone romances that follow a group of friends from Briar Rose Estates—a luxurious and treacherous world of billionaires. Each book is a standalone for that unique couple, but juicy chaos unfolds across the series and you’ll need to read the books in order.

What’s Tan to do when he has to reclaim a holy sword he can’t touch? Call upon his White Knight to save him. What’s Devan to do when he learns the sword was stolen in order to defeat Tan? Save the poor fools from utter annihilation. Tan is not amused by this quest line. Devan can’t stop laughing. Tags: Tan’s turn to need help, what are they teaching these adventurers?, I’m not saying baby adventurers are stupid, but if you put a candle next to their ears their eyes will shine, Tan has all the plans, Devan laughs for the first time, Tan loves it, even if it’s at his expense, Tan is banned from Osedon Conclave, for reasons, Tan disguises himself as a girl, also for reasons, no one likes to be drowned, no one, even magic swords knows who’s boss

What’s Devan to do when his cousin’s ships and the crew go missing? Set sail with Tan to figure it out. What’s Tan to do when Devan finally makes a move? N.S.F.W. Many times. On many surfaces. Damn creatures are trying to interrupt them. Murder ensues. Tags: The crack ship armada sails again, literally, Tan fell first, Devan fell harder, communication, because miscommunication is the devil’s trope, Devan puts himself first for once, Tan approves, LET THE PLANNING BEGIN!, unless Devan beckons you to bed, then planning can wait, relationship progress, flirty Devan has been released, Tan is thrilled, Wells feels betrayed, just lots of fluff in between murder, tipsy Tan does things to Devan, first kiss, The VOID explained

The essay was written in 1923, and in 1924 it was read to the Heretics, Cambridge. The essay is a polemical piece that attempts to go beyond Arnold Bennett’s thesis that character is the essence of novel writing, and his too easy conclusion as to why the young writers have failed to create credible characters. Woolf chooses the year 1910 as the year in which a discernible shift in human relations takes place. This point is important to her because to understand what “real” character is, one has to understand the large context—the British society. In this light, she chooses Mrs. Brown as a metaphor for human nature. Her analysis highlights the shortcomings of previous generations of writers; in particular the Edwardians and the Georgians, concluding that they also failed to create lasting characters. In this regard, history seems to be on Virginia Woolf’s side: while everyone remembers Mrs. Dalloway, no one remembers a single character created by either the Edwardians or the Georgians. What readers remember instead are the physical settings they created with old tools. To facilitate the flow of ideas, this version of the essay includes section headings and bold typography. The essay is presented, otherwise, as it was first published.

Virginia Woolf's essay contained in "The Common Reader", 1925

The essay was written in 1923, and in 1924 it was read to the Heretics, Cambridge. The essay is a polemical piece that attempts to go beyond Arnold Bennett’s thesis that character is the essence of novel writing, and his too easy conclusion as to why the young writers have failed to create credible characters. Woolf chooses the year 1910 as the year in which a discernible shift in human relations takes place. This point is important to her because to understand what “real” character is, one has to understand the large context—the British society. In this light, she chooses Mrs. Brown as a metaphor for human nature. Her analysis highlights the shortcomings of previous generations of writers; in particular the Edwardians and the Georgians, concluding that they also failed to create lasting characters. In this regard, history seems to be on Virginia Woolf’s side: while everyone remembers Mrs. Dalloway, no one remembers a single character created by either the Edwardians or the Georgians. What readers remember instead are the physical settings they created with old tools. To facilitate the flow of ideas, this version of the essay includes section headings and bold typography. The essay is presented, otherwise, as it was first published.

The serene and maternal Mrs. Ramsay, the tragic yet absurd Mr. Ramsay, and their children and assorted guests are on holiday on the Isle of Skye. From the seemingly trivial postponement of a visit to a nearby lighthouse, Woolf constructs a remarkable, moving examination of the complex tensions and allegiances of family life and the conflict between men and women. As time winds its way through their lives, the Ramsays face, alone and simultaneously, the greatest of human challenges and its greatest triumph—the human capacity for change.

A már életében klasszikusnak számító angol írónak ez volt a negyedik, a kritikusok szerint a legjobb regénye. Ismét életre kel az Edward-kori Anglia. A történet középpontjában két család áll. Egyrészt a dúsgazdag Wilcoxék: Henry, a hűvösen charme-os vállalkozó, és beteges felesége, Ruth. Másrészről a művelt, érzékeny Schlegel kisasszonyok, akik intellektuális lelkivilágukat a londoni teaszalonokban élik. A két életforma között és alatt Leonard Bast, a Helen Schlegel védőszárnyai alá került fiatal hivatalnok tengődik, a kisember, aki a kultúra világába vágyakozik, de akit a wilcoxi könyörtelenség és a schlegeli könyörület egymással versengve tesz tönkre.

A már életében klasszikusnak számító angol írónak ez volt a negyedik, a kritikusok szerint a legjobb regénye. Ismét életre kel az Edward-kori Anglia. A történet középpontjában két család áll. Egyrészt a dúsgazdag Wilcoxék: Henry, a hűvösen charme-os vállalkozó, és beteges felesége, Ruth. Másrészről a művelt, érzékeny Schlegel kisasszonyok, akik intellektuális lelkivilágukat a londoni teaszalonokban élik. A két életforma között és alatt Leonard Bast, a Helen Schlegel védőszárnyai alá került fiatal hivatalnok tengődik, a kisember, aki a kultúra világába vágyakozik, de akit a wilcoxi könyörtelenség és a schlegeli könyörület egymással versengve tesz tönkre.

The serene and maternal Mrs. Ramsay, the tragic yet absurd Mr. Ramsay, and their children and assorted guests are on holiday on the Isle of Skye. From the seemingly trivial postponement of a visit to a nearby lighthouse, Woolf constructs a remarkable, moving examination of the complex tensions and allegiances of family life and the conflict between men and women. As time winds its way through their lives, the Ramsays face, alone and simultaneously, the greatest of human challenges and its greatest triumph—the human capacity for change.

The portrayal of Stephen Dedalus's Dublin childhood and youth, his quest for identity through art and his gradual emancipation from the claims of family, religion and Ireland itself, is also an oblique self-portrait of the young James Joyce and a universal testament to the artist's 'eternal imagination'. Both an insight into Joyce's life and childhood, and a unique work of modernist fiction, A Portrait of the Artist as a Young Man is a novel of sexual awakening, religious rebellion and the essential search for voice and meaning that every nascent artist must face in order to blossom fully into themselves.

The portrayal of Stephen Dedalus's Dublin childhood and youth, his quest for identity through art and his gradual emancipation from the claims of family, religion and Ireland itself, is also an oblique self-portrait of the young James Joyce and a universal testament to the artist's 'eternal imagination'. Both an insight into Joyce's life and childhood, and a unique work of modernist fiction, A Portrait of the Artist as a Young Man is a novel of sexual awakening, religious rebellion and the essential search for voice and meaning that every nascent artist must face in order to blossom fully into themselves.

Ezra Knight is the biggest rockstar to ever walk the planet, but before he belonged to the world, he belonged to me. He was my brother’s best friend, my soulmate and protector, and when their band—Demon’s Curse—took off, so did he. He was like a roaring tornado, crashing through my world and sweeping me off my feet, and just when I had it all, I was abandoned. Left to fend for myself at the hands of a monster. For eight long years, I blamed him for everything that was out of his control. But one phone call changed it all. And when Lenny Davidson—the head of Louder Records—calls to offer you the world, you scoop it up with both hands. Only that offer comes with strings attached. Strings that are tied directly to Ezra Knight, leaving me with one hell of a choice to make. Take the job as the new head of marketing for Demon’s Curse’ and have to face the man who crushed you every single day, or wave goodbye to everything you’ve ever worked for. What could possibly go wrong?