But the craggy, homely old Dean, lived locked in by shyness... when an obscure watchmaker, the timid, fearful little Isaac Peabody, a genius of a clockmaker, strikes up an unlikely friendship with the Dean. It leads to an unusual spiritual awakening in both men, and this unexpected friendship of these two men; also leads the Dean's remarkable awakening to the healing force of unselfish love; and the miracles wrought as he reached out to other human hearts to console them. It eventually reaches out to the entire community. And in the background there are Polly and her beloved Job, Bella and old Mrs Montague.

    As a young girl Diana is irrepressible, untameable and, to the orphaned John, endlessly fascinating. Only daughter of a wealthy businessman, she is drawn both to a rigorous outdoor life in the west country with her horses and the glittering London society that will be her destiny. They spend a magical unconventional childhood together but Diana's ambition, her passion for life that makes her so desirable, pulls her away from all that makes her happy. The fierce friendship that grew inevitably to love, develops as inevitably to conflict and a betrayal that will mark them both - until the trials of war offers them redemption.

    From there her grandfather, Orrin Judd, the financier, ran his vast empire. When Camilla had been a child her mother had returned there for a visit and mysteriously died. From that point on, for reasons she had never understood, Camilla's father had cut himself off completely from the Judd family. And later Camilla, now an orphan and quite alone, had been making her way as a governess in New York City.The summons from the old man had come as a complete surprise. Yet Camilla obeyed it willingly, half out of curiosity, half in the hope of discovering a home and family of her own. She found a sick old man anxious to make his peace with her before he died. She found two extraordinary aunts--imperious Aunt Hortense, dressed in bygone fashions, and fey, ghostlike Aunt Letty, haunted by some strange guilt or sorrow. She found also Hortense's adopted son, Booth, a strange, sardonic young man who seemed content to idle away his considerable talents as a painter, and Ross Granger, who had been brought there as an aide to her grandfather and who treated her with the most rigid formality.Over the enormous house hung an atmosphere of gloom, impending danger, and strange crosscurrents. And out of these elements Phyllis Whitney has fashioned an extraordinarily holding story. Old Orrin Judd's amazing will, young Booth's unfinished portrait of Camilla's mother, the house itself, which took on a character of its own, and one near-accident after another, seemingly aimed at driving Camilla away, all play their parts.The Window on the SquareTHE SCENE IS NEW YORK CITY IN THE 1870's. A letter summons young Megan Kincaid to the house on Washington Square. In a startling interview the master of the house, Brandon Reid, informs her that he wishes her to devote herself to moody, unbalanced Jeremy, Mrs. Reid's son by her previous husband, Brandon's younger brother Dwight. Dwight Reid's brilliant career as New York District Attorney had been ended by a shocking and tragic accident with a gun--or so the newspapers had claimed--at the hands of this same guilt-ridden child, then aged seven. Against her better judgment, Megan accepts the challenge.From the beginning Megan feels uneasy in the house; she senses the presence of lurking evil, of mysterious emotional undercurrents, of relationships that are not what they appear to be. She does not know whom to trust--the haughty yet strangely sad beauty, Leslie Reid, or the somber, fascinating master of the house, whose warm voice belies his cold, grave manner. She finds herself irresistibly drawn toward him, and their growing mutual attraction is duly noted by interested members of the household. When Megan realizes fully the extent of her own feelings, she knows she cannot honorably remain in the Reid home. Yet she also knows that if she goes, Jeremy will be left alone in world, irretrievably lost.

    As a boy he had been known as "El Rubio," a ragamuffin pimp who made his few pesos leading sailors to his home, a waterfront bordello...As a young man he was called Mario - handsome and experienced beyond his years in the debauchery and treachery of slave-trading Havana...And then, suddenly, he was the Count of San Mateo - heir to a Spanish fortune - and bound for Spain to play the role of human stallion to a desperate, degenerate Queen...The Tattooed Rood, a great new novel of a man branded with the terrible torture-mark of the Spanish Inquisition.