The conversations you have; the ideas that burst on you; the kiss that transforms you. And then you grow up, and make a deal with adulthood. A Small Revolution in Germany is about that rapturous moment when ideas, and ideals, and passion crash over one boy’s head. And what happens in the decades afterwards? When you see the overwhelming truth when you are seventeen, why should you ever abandon that truth? Spike is brought into a small, clever group of friends, bursting with a passion for ideas, and the wish to change the world. They smash up political meetings; they paint slogans on walls; they long for armed revolution; they argue, exuberantly, until dawn. In the years to follow, they all change their minds, and go into the world. They become writers, politicians, public figures. One of them becomes famous when she dies. They all change their minds, and make sensible compromises. Only Spike stays exactly as he is, going on with the burning desire for change, in the safe embrace of unconditional love. Alone from the old group, he is the only one who has achieved nothing, and who has never deviated from the impractical shining path of revolution he saw as a teenager. Thirty years on, photographs of the teenage group look like a bunch of celebrated individuals, with only one unknown face in it – Spike.

    Now, centuries later, I must face what I've become.The odds are stacked against me and the Infernal Council wants me gone.Can I become what I was born to be or will surprising threats defeat me?With a squirrel shifter, vampire, panther gargoyle, brownie, and archangel at my side, anything is possible. Infernal Council: The Complete Series omnibus includes:Infuse DefuseTransfuseRefuse Refuse is a 12,000 word short novella that takes place about a year after the conclusion of the trilogy.Infernal Council is a fast burn reverse harem romance with mature language, m/m, and told from multiple POVs. It is a spinoff from my Celestial Academy series but can be read as a standalone series.

    Though there's an obvious attraction between the two women, Amelia questions whether it's real or all in her head. A fantasy that can never become a reality. After all, Vogue is rich, talented and beautiful, and can have any woman she wants.Unknown to Amelia, Vogue is hiding behind a façade. Bereft after her best friend betrays her, Vogue is torn between the life she thought she knew and the reality she now faces, as the threat of losing her business looms over her.Both women have to decide whether to put their hearts on the line and risk opening themselves up to the unknown. If they don't, they risk losing so much more.

    One of his best-loved and most famous plays, it exposes the lies plaguing the family of a wealthy Southern planter of humble origins.

    But when Luke is hospitalized in a tragic accident, Adam must come face-to-face with Luke's faith and his family.

    York Notes author John Scicluna discusses all aspect of An Inspector Calls --a thorough run-down very helpful to anyone studying the famous Priestley play.

    In this regime only Fraulein von Bernburg offers tenderness and love, and for that both she and Manuela must suffer.

    It is the work of one of the most influential attorneys in America, who has dedicated his life to the protection of individuals' rights and our Constitution's commitment to equal justice under the law. Above all, it is a clear, straightforward book that brings into sharp focus the very human significance of the right to marry in America—not just for some couples, but for all. Why is the word marriage so important? Will marriage for same-sex couples hurt the "sanctity" of the institution? How can people of different faiths reconcile their beliefs with the idea of marriage for same-sex couples? How will allowing gay couples to marry affect children? In this quietly powerful volume, the most authoritative and fairly articulated book on the subject, Wolfson demonstrates why the right to marry is important—indeed necessary—for all couples and for America's promise of equality.

    His uncle, a keen Thatcherite, offers Omar an entrepreneurial opportunity to revamp a dingy laundrette, and ambitious Omar rolls up his sleeves, enlisting the assistance of his old school-friend Johnny, who has since fallen in with a gang of neo-fascists. Omar and Johnny soon form an unlikely alliance that leads to business success, as well as other, more intimate surprises.

    Concerned something has happened to her husband, Jill follows a string of clues to try and find out the secret Charles was keeping from her.

    It tells the hilarious story of the pleasure-seeking adventures of an educated rogue, Encolpius, his handsome serving boy, Giton, and Ascyltus, who lusts after Giton—three impure pilgrims who live by their wits and other men's purses. The Satyricon unfailingly turns every weakness of the flesh, every foible of the mind, to laughter.

    Fiction is, anyway. A pretense. Ersatz. . . . When you read a story you are pretending a lie. —Morgan  What begins as a game for Ditto—the refutation of his friend Morgan’s Charges Against Literature—quickly escalates into a multilevel challenge. After Ditto’s father suffers a heart attack in the middle of one of their fights, Ditto decides he has to get away for a few days to sort out his life. His chronicle of his experiences becomes his rebuttal to Morgan’s Charges. But is this thought-provoking examination of people and ideas all fact . . . or fiction? Aidan Chambers leaves it up to the reader to decide in this novel that Publishers Weekly calls “excruciatingly funny as well as touching.” Includes a new afterword from the author! Praise for Aidan ChambersMichael L. Printz Award winnerCarnegie Medal winnerHans Christian Andersen Award winner

    In a small town in the west of Ireland, a beautiful baby boy is born. He enjoys an idyllic country childhood: privileged, carefree, surrounded by love - and pet sheep.Eleven years later, the Pope visits Ireland, and things will never be the same again. At the Pontiff's mass in Knock, the little boy has an epiphany that will set him on the road to become the biggest, boldest, and most opinionated drag queen Ireland has ever known.This is the story of Rory O'Neill's journey from the fields to becoming Panti Bliss, the voice of a brave new nation embracing diversity, all the colours of the rainbow and, most of all, a glamorous attitude.It's also the story of a misfit who turned his difference into a triumphant art form; of coming to terms with HIV; of political activism; and of 'Pantigate', and the speech that touched a million lives.Welcome to the world of Panti - adored, fun drunk aunt to the world - and her creator Rory, in their own inimitable words.

    Trained in classical Greek and Latin, Phillips seems to excavate as he forms words into lines, breaking images into tiny parts of thought as he digs for meaning and accuracy. As part of this excavation, Pastoral explores what flesh, wanting, and belief are made of. A finalist for both the National Book Award and the National Book Critics Circle Award, Phillips has produced four collections of accomplished verse in the past few years. In each book, the influence of classical syntax and rhythm can be heard. And with each book, Phillips refines his poetic voice, combining the prayerlike and the erotic, and often elegantly swooping from a whisper to a scream in the space of a few stanzas.This time, the poems fall along a wide range of tones, from italicized commands like "Let me" and "Now" in the poem "Lay Me Down" to a hesitant question, or a deepening well of self-doubt. Phillips is always original, and he's always remembering, even when a poem is firmly written in present tense. He is hyperaware not only of the ancient poets, but also of history, especially the great destructions.In the ominously titled "The Kill," he remembers a familiar daily scene. The speaker analyzes his own love for another in clinical detail that suddenly veers into longing. The way these lines break adds to the sense of tragic fragment, of an ache:      The last time I gave my body up,      to you, I was minded       briefly what it is made of,       what yours is, that      I'd forgotten, the flesh      which always       I hold in plenty no       little sorrow for because -- oh, do      but think on its predicament,      and weep.In just four stanzas, Phillips moves from an image of both love and surrender to a consideration of temporality -- the bald fact that his lover is mortal. This thought of "its predicament" makes him weep, even though death is not a stated issue here.In "The Kill," the last poem in the volume, the speaker anticipates the need to remember. The second poem in the book referred to Pompeii, and the shadow of Pompeii is still resonant as the speaker describes his lover's body, still current and alive despite the title's warning.He remembers a body he has felt before, and probably will feel again -- judging by the present tense of "what yours is." And yet, the speaker here feels the need to freeze that body in time, to memorialize it. The next stanza explains this strong urge to hold on:      We cleave most entirely      to what most we fear      losing. We fear loss      because we understand       the fact of it, its largeness, its      utter indifference to whether      we do, or don't,       ignore it. The "largeness" of loss is what these poems are loath to accept, even as they seek to understand. Each poem tries to break loss down into questions, confessions, prayers, or simple expressions of doubt. While the poems fight against death and inevitable loss, they also seem to seek moral guidance to help with these losses.Nowhere is the search for answers and guidance more apparent than at the endings of these poems, which are frequently questions. Phillips is fond of abrupt, mysterious dashes as conclusions. In his quest for a moral compass, he also quotes from "Lamentations" and draws on familiar Biblical stories. The wanderings of Cain, for example, seem to appear in the backgrounds of poems where man seeks. What's more, the epigraph is from George Herbert, the great poet of faith and the war between faith and flesh. The sense of struggle between opposing ideas is something Phillips incorporates and modernizes into a contemporary parable of carnal love and constant questioning of that love. There's a frequent seesawing in the book, a back-and-forth on the big questions that permeates even the simplest narrative. For example, in "Favor," the second section of a five-part poem called "And Fitful Memories of Pan," Phillips sees a man in the distance:      Even from a distance, I can tell:       a man, clearly.       Gods cast no shadow. The struggle between man and God, between flesh and faith, is hinted at in the first stanza. Man, for Phillips, is an instrument of struggle, a tortured wanderer. The poem continues:      Also, that he tires,       stops to rest, looks like      sleeping, or could use some.       How long he has been,       coming, how long it takes, just      to cross it, the lush      measure that -- all summer -- has      been these well-groomed,       well-fed grounds, the lake      unswum and gleaming, the light      catching, losing      the useless extravagancePhillips basically forms the scene of a man walking into a discussion of man's temporality, the fact that man tires. While what God makes -- "the lake unswum and gleaming" -- needs to make no effort to be beautiful, man exhausts himself just surviving. By the last two stanzas, the speaker concludes that the body must make bets with itself:      Always, the body      wagering --      up, through itself --       Give. What he wants, he shall have.In Phillips's work, man -- though mortal -- still has great power. Man can demand, man can inspire love, and man can pray. In the struggle between man and God, in that constant "wagering," man sometimes wins.&3151;Aviya Kushner

    What starts as a heart-warming story, of a boy growing up with Doctor Who as his trusted friend, engaging the reader memories and nostalgia that will be familiar to any Doctor Who fan, takes a sudden twist when he is thrust into an alien and adult world - cast as Doctor Who’s youngest ever travelling companion - for two of the series’ most inventive seasons. Matthew’s sense of wonder with his dream job and his love for the show are palpable; as is his shock at genuine hostilities between cast and crew members and considerable tensions on set, which are counterpointed with poignant reminders that he is just a boy, and still a fan, who finds himself in the absurd, comic world of minor celebrity.What follows is a story-by-story memoir of his time on the show, peppered with glimpses into Matthew's personal life, tales of conventions, DVD commentaries, and some revealing anecdotes about everyone from fellow actors to Doctor Who’s more high-profile fans.This memoir holds nothing back: written with honesty, warmth, a rapier wit and a good dose self-depreciation, the book is essential reading for any Doctor Who fan. Finally, we get to hear Matthew's side of a story which has been told and embellished and imagined by fans and fellow actors for years. This affectionate and darkly humourous memoir is a record of what it was like to make Doctor Who, and to work for the BBC in early '80s, and is proof that you can take the actor out of Doctor Who, but you can never quite take Doctor Who out of the actor...