Explore the vast range of titles available.

\"Heiress Evangeline Chandler knows how to keep a secret ... like her life-long crush on the tattooed hottie who just happens to be her big brother's friend. She's a Chandler, after all, and Chandlers don't hook up with the help. Then again, they also don't disobey their fathers and quit their respectable jobs, so good-girl rules may no longer apply. Gabriel Hunter hides the pain of his past behind a smile, but he can't hide his sudden attraction to his friend's sheltered little sister. Eve is far too sweet to accept anything less than forever and there's no chance of a future between the son of a housekeeper and the town's resident princess. When a wedding party forces Eve and Gabe into tight quarters, keeping their hands off each other will be as hard as keeping their clothes on. The need that draws them together is stronger than the forces that should shove them apart ... but their sparks may not survive the explosion when long-buried secrets are finally unearthed.\"-- Provided by publisher.

In setting up his theoretical framework, [Norris Yates] draws on the work of Lillian Robinson, Jane Tompkins, Nina Baym, and especially Frances B. Cogan, who coined the term \"Ideal of Real Womanhood.\" The \"Ideal of Real Womanhood,\" of course, is quite different from that other stereotype of female behavior, the \"Cult of True Womanhood,\" a category of analysis used by many cultural, social, and literary historians ever since Barbara Welter defined the term. The \"ideal\" woman is distinguished from the \"true\" woman by her ability to earn a living, be rational and clear-headed, demonstrate physical fitness, and resist male domination even while working toward a partnership. While Cogan has argued that literary representations of this prototype disappeared in the 1880s, Yates finds them reincarnated in the women writers of formula Westerns, but with two distinct modifications: First, these writers added a romance plot; second, the heroine often helped reform a fallen man, a purpose not usually found in the domestic novel. In addition to recovering lost writers and showing how domestic fiction did not disappear but was rather transformed, Yates also wants to apply concepts \"developed by Elaine Showalter, Sandra M. Gilbert, and Susan Gubar to the analysis of these rediscovered formula Westerns by women\" (3). Specifically, Yates seeks to analyze the \"palimpsestic\" writing of these authors who, like other women writers, intentionally adopted a \"double-voiced strategy\" to resolve the \"demands of the macho Western and their feminist leanings\" (4). By creating female protagonists, which occurred much more often in Westerns by women than by men, these writers were able to resist the authority of a literary and publishing establishment dominated by and oriented to men. One consequence, though, of introducing such female heroines was the necessary obligation of sending them into domesticity at the end. But in doing so, the female heroines were allowed to retain some of their individuality and independence, \"without offending any literary and social conventions.\" As Yates puts it: \"Such alterations were among the significant ways in which these authors supported and yet subverted Western-style images of ideal femininity and male hegemony\" (5). Yates notices several other differences in formula Westerns by women, the fact that these novels included relatively less violence, particularly gunfights (that most common of Western action devices) and a greater frequency of indoor, domestic settings. Yates provides a good overview of his methodology. He has chosen to define the formula Western as \"material drawn mostly from the `slicks' (magazines printed on glossy paper with a high rag content), rather than from the `pulps' (periodicals printed on cheaper paper derived mostly from pulpwood). He argues that it is impossible to separate writers of pulp Westerns by gender because of the frequent use of pseudonyms; also, women writers of formula Westerns did publish more often in the slicks. He uses a somewhat narrower definition of the West than the one common to the New Western Historians. Yates describes the \"West\" as the \"area west of the Missouri, south of the tundra, and north of the Sierra Madre\" (6). Time in this study is bound by the end of the Civil War until about the end of the 1920s, the period of greatest immigration and internal migration in American history. Like Country and Western music, formula Westerns seem to have had generic plots that would cover all cases: the epic of construction, the ranch story, the empire story, the avenger tale, Custer's last stand, the outlaw story, and the marshall story. Yates notes three other qualities that mark the formula Western: a particular view of the West that sees \"place\" as bringing out the best and worst in people; as rewarding the good with adventure, romance, and prosperity and punishing the bad, usually with violent death; and as taking the male chauvinism of adventure fiction in general to an extreme.

\"One night. No one will know. That was the deal. Every year, Livvy Kane and Nicholas Chandler would share one perfect night of illicit pleasure. The forbidden hours let them forget the tragedy that haunted their pasts--and the last names that made them enemies. Until the night she didn't show up. Now Nicholas has an empire to run. He doesn't have time for distractions and Livvy's sudden reappearance in town is a major distraction. She's the one woman he shouldn't want ... so why can't he forget how right she feels in his bed? Livvy didn't come home for Nicholas, but fate seems determined to remind her of his presence--and their past. Although the passion between them might have once run hot and deep, not even love can overcome the scandal that divided their families. Being together might be against all the rules ... but being apart is impossible\"--Page 4 of cover.

Her name means \"miracle\" in Sanskrit: Kimaya was the first baby to survive after several miscarriages, and grew up in a mansion at the top of Mumbai's Pali Hill, surrounded by love and privilege. But at eleven years old, she develops a rare illness that requires her to be confined to a germ-free ivory tower in her home. Rahul Savant shows up to wash Kimi's windows, and as years pass he becomes her eyes to the outside world, and she becomes his inspiration to better himself. When a life-saving heart transplant offers the chance of a real future, Kimi anticipates a new life, and Rahul investigates a black market organ ring that cuts too close to home\"--Adapted from back cover.

During a blackout in a war-torn Angola, two teenagers explore their deepest emotions as they share personal stories and dreams in the intimacy of the darkness.

\"A sixteen-year-old homeschooled math genius finds herself out of her element at a theater summer camp and learns that life--and love--can't be lived by the (text)book\"-- Provided by publisher.

\"A sixteen-year-old girl whose father is the leader of a Black liberation group discovers her own place in the world.\"-- Provided by publisher.