Not only is he on a new diet, but he's also been tasked with keeping Henry Page -- the world's most irritating witness -- alive. Which is tough when Mac's a breath away from killing the Shakespeare-quoting, ethically-challenged, egg-obsessed Henry himself. Unless killing isn't really what Mac wants to do to him.Con man Henry Page prefers to keep his distance from the law . . . though he wouldn't mind getting a little closer to uptight, handsome Agent McGuinness. As the sole witness to a mob hit, Henry's a valuable asset to the FBI. But he's got his own agenda, and it doesn't involve testifying.When evidence surfaces of a mole in the FBI office, Mac and Henry are forced to go into hiding. Holed up in a fishing cabin, they're surprised to discover that their feelings run more than skin deep. But as the mob closes in, Henry has to make his escape. And Mac has to decide how far he's willing to go to keep Henry by his side.* * * * * * *The Playing the Fool series should be read in order for maximum enjoyment.Word count: 56, 500; page count: 228This is a second edition originally published by Riptide Publishing. No content changes have been made.

    Being rescued by three sexy lumberjacks is fine as a fantasy, but in reality the biggest of the bears is awfully cranky and seems ready to gobble Frankie right up.Marcus Gardner wasn’t always a lumberjack—once a high-powered Minneapolis lawyer, he’s come home to Logan to lick his wounds, not play with a sassy city twink who might as well have stepped directly out of his past. But as the northwinds blow and guards come down, Frankie and Marcus find they have a lot more in common than they don’t. Could the man who won’t live in the country and the man who won’t go back to the city truly find a home together? Because the longer it snows, the deeper they fall in love, and all they want for Christmas is each other.

    in love.Cambridge art professor Larry Morton takes one, alcohol-glazed look at the huge, tattooed man looming in a dark alley, and assumes he’s done for. Moments later he finds himself disarmed—literally and figuratively. And, the next morning, he can’t rest until he offers an apology to the man who turned out to be more gentle than giant. Larry's intrigued to find there's more to Al Fletcher than meets the eye; he possesses a natural artistic talent that shines through untutored technique. Unfortunately, no one else seems to see the sensitive soul beneath Al’s imposing, scarred, undeniably sexy exterior. Least of all Larry's class-conscious family, who would like nothing better than to split up this mismatched pair. Is it physical? Oh, yes, it’s deliciously physical, and so much more—which makes Larry’s next task so daunting. Not just convincing his colleagues, friends and family that their relationship is more than skin deep. It’s convincing Al. Contains comic misunderstandings, misuse of art materials, and unexpected poignancy.

    For current Paperback edition see: Tell Me It's RealDo you believe in love at first sight? Paul Auster doesn't. Paul doesn't believe in much at all. He's thirty, slightly overweight, and his best features are his acerbic wit and the color commentary he provides as life passes him by. His closest friends are a two-legged dog named Wheels and a quasibipolar drag queen named Helena Handbasket. He works a dead-end job in a soul-sucking cubicle, and if his grandmother's homophobic parrot insults him one more time, Paul is going to wring its stupid neck. Enter Vince Taylor. Vince is everything Paul isn't: Sexy, confident, and dumber than the proverbial box of rocks. And for some reason, Vince pursues Paul relentlessly. Vince must be messing with him, because there is no way Vince could want someone like Paul. But when Paul hits Vince with his car - in a completely unintentional if-he-died-it'd-only-be-manslaughter kind of way - he's forced to see Vince in a whole new light. The only thing stopping Paul from believing in Vince is himself - and that is one obstacle Paul can't quite seem to overcome. But when tragedy strikes Vince's family, Paul must put aside any notions he has about himself and stand next to the man who thinks he's perfect the way he is.