Excerpt and one of them, Gavin, was reputed to be the strongest man in the neighborhood. The daughter, a long-limbed slip of a girl who rode like a cow-puncher, was about the boy's age. Though Godfrey French had a ranch it was worked scarcely at all. The boys did not like work, and apparently did not have to. Godfrey French was reputed to have money. His ranch was a hang-out for what were known as "remittance men," young Englishmen who received more or less regular allowances from home--or perhaps to keep away from home. There were rumors of gambling and hard drinking at French's ranch. "Well, I'll take you home," the boy said. "You can ride my pony. He's on a rope a mile from here. But I'll have to hang up this buck, or the coyotes will chew him." He found two small saplings close together, bent them down, trimmed them and lashed their tops. Over these he placed the tied legs of the buck. With a little search he found a long dry pole. With this he had a tripod. As he hoisted with the pole the spring

    If it hadn’t been for the stranger in buckskins, the Jakes family would have been in serious trouble. Little did they know, the storm was just the beginning of their struggles. They'd come to Colorado to raise a new breed of horse. Along the trail they would follow were new friends, old enemies, and the land. At times it was hard to tell which ones were the most dangerous. It would take all of their fortitude and the help of kind-hearted strangers to keep the dream alive.

    In her troubled times, Anya finds her anchor in a handsome stranger. But is he really unknown to her? Dev Wadhwa's past finds him when he sees Anya lying unconscious in the middle of the road. Not willing to let go of her one more time, Dev takes her to the hospital and later to his farmhouse, where he helps her recuperate. Sparks fly and Dev and Anya fall for each other! But the feisty Anya refuses to commit herself to marriage as her loss of memory looms larger than life. Things aren’t easy with an ex-husband, not-so-understanding parents, and a jealous neighbour thrown into the mix. What if Anya’s memory never comes back? Will Dev and Anya get a second chance? Or will circumstances force them apart, yet again?

    

    This "Columbia Critical Guide" starts with extracts from Melville's own letters and essays and from early reviews of "Moby-Dick" that set the terms for later critical evaluations. Subsequent chapters deal with the "Melville Revival" of the 1920s and the novel's central place in the establishment, growth, and reassessment of American Studies in the 1940s and 1950s. The final chapters examine postmodern New Americanist readings of the text, and how these provide new models for thinking about American culture.

    Titles in this collection are: The Lost Symbol, Digital Fortress, Angel & Demons, Deception Point, The Davinci Code Dan Brown is the bestselling author of Digital Fortress, Deception Point, Angels and Demons and The Da Vinci Code. He is a graduate of Amherst College and Phillips Exeter Academy, where he has taught English and creative writing. He lives in New England.

    

    

    Parker. In the first novel, Promised Land, Harvey Shepard's wife has run away. Spenser has been hired to find her. A seemingly easy mission: go to Cape Cod, find the missing woman, then sit back and enjoy the sun. But it seems there is more to this case than meets the eye. Who are the shady figures Pam Shepard has been seen with? And why does Harvey keep showing up with bruises? Both Pam and Harvey are in over their heads, and soon Spenser will be too. In the second novel, Looking for Rachel Wallace, Spenser is hired to protect Rachel Wallace, the outspoken feminist. Left-wing lesbian meets muscles and machismo. Chalk meets cheese. It is not long before Rachel fires him. Then she disappears. Spenser feels it is his duty to save her. And once he has made up his mind then no bigot, Klansman, or family will get in his way. He will not stop until he finds Rachel Wallace.

    The sort of novel that comes along rarely to touch something personal in us. It's the story of a man and woman falling in love, and of the children and the memories of a perfect first wife that could keep them apart. "Excellent!" —Philadelphia Inquirer

    Though Samad attempts to persuade his mother to join them in Australia, she insists on remaining in Karachi even while Pakistan is facing turmoil. It's 1985. The mullahs and the generals are in control, and an insurgency is beginning in Kashmir. Meanwhile, Bilqis's servant girl, Mumtaz, enters a relationship with Omar, a young man caring for a neighboring house. Omar is an intense man who resents Pakistan's class system, and his frustration leads him to the freedom movement in Kashmir. But Mumtaz is in love and willing to sacrifice her honor to be with him. The intertwining stories of Bilqis, Samad, and Mumtaz offer a powerful and nuanced portrait of Pakistan in the modern era-a place of conflicting loyalties, rich with history and culture, and plagued by violence. Abidi's precise and elegant prose illuminates the struggle between a mother and son to reconcile their love for each other with their love for home.

    Deepwood House, too, was chiefly known as the home of three wicked and rich Stirlings. So one summer Deepwood attracted some rather strange visitors as well as the tourists--visitors who withered flowers at a touch and were known to leave cloven hoof-marks. The effect of these diabolic guests on the present inhabitants of Deepwood House is told with irresistible wit and gusto. *Note, these titles contain the original, unabridged, text exactly as the author first wrote it. Many later editions of Elizabeth Cadell's works were heavily abridged or changed. We hope you enjoy the re-issue of these timeless books. Watch for more to come in the near future!

    This work, overlooked or trivialized by critics over theyears, today is considered a revolutionary narrtive because in it the writer experiments with techniques that pre-announce the XX Century Vanguard writiers, and even contemporary post-modernism texts. This is a novel built upon symbols, impresionist and expresionist prose, full of visionary enunciations that depict the present and future of an off-balance world; and the fragile and inconstant experiences of our daily life. Marti, according to his own confession, wrote the novel originally under the title of Amistad Funesta (Regrettable Friendship) in seven days for a New York magazine. He was forced to follow the guidelines set by the magazine's director: there had to be lots of love; a death; many young women, no sinful passion; and nothing that parents and clergymen would reject. And it had to be Hispanic American. The Cuban confessed he disliked the narrative genre. But years afterwards he changed his mind and thought about a modified version of his novel, with a different title because he realized, after reading Harriet Beecher Stowe's Uncle Tom's Cabin and Helen Hunt Jackson's Ramona, that novels could be a powerful social and political vehicle. In Lucia Jerez many critics have preferred to see a fundamentally aesthetic creation, the fruit of the end of the XIX Century Modernist stylistic innovations. But today (re)reading, "under the surface" of the text, as Marti preferred, one can discover a contemporary narrative that explores the disconnections and annomalies of modern life. Inthe preliminary study to this text Prof. Ivan A. Schulman examines Jose Marti's stance with regard to novelistic narratives, explores Lucia Jerez's structure and style, and adds notes that contribute to a novel, in-depth comprehension of Marti's text."

    Can you imagine Draupadi in a Brothel house? How did she end there and who is responsible for that? Read this short story to meet her and know about her life.

    So, with great resourcefulness, she advertised for a companion and eventually staked out a corner of her own—one with a view. Mildred Walker's skill as a storyteller never falters in this portrayal of an elderly woman who won't give up.