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Scrooge had moved in next door and Ivy Holloway was at his mercy. Billionaire Tanner King wanted her year-round Christmas-tree farm shut down so he could have his peace and quiet. He had enough money and power to do it, too. Leaving Ivy with only one option--tame the savage beast. Tanner had found little tranquility thanks to his annoying neighbor. And then he found himself saddled with a gorgeous housekeeper he couldn't keep his mind--or hands--off. Trouble was, these two women were the same person. . . leaving the CEO wondering if he could really love his enemy.
The position: Hard-driving corporate powerhouse-and very confirmed bachelor-C. K. Tanner needs a "pretend" wife to help him convince an old-fashioned business associate that he's a regular, reliable family man. . . . ;The unwilling candidate: Abby McGrady, a beautiful, independent young woman who works in the mail room and detests almost everything about her arrogant, insufferable-but drop-dead-gorgeous-employer. . . . ;The complication: The two of them are all wrong for each other-but they can't keep their hands off each other, either. And the sparks flying are enough to make anybody want to turn a "temporary" partnership into the deal of a lifetime. . . . ;
While visiting her more glamorous twin sister, a repressed librarian throws caution to the winds as she masquerades as her sibling and falls in love with a handsome neighbor.
Wedding bells in Whitehorn?Ross Garrison was everything Lynn Taylor had ever dreamed of in a prince. And in one fairy-tale night, she gave him her innocence--and her heart. Now everyone was talking about how the prim schoolteacher turned up in the sexy lawyer's bed--until Ross gave the townsfolk something to really talk about and claimed Lynn as his bride-to-be! Lynn knew Ross was only trying to protect her honor. After all, this confirmed bachelor was about as far from marriage material as a man could be. Unless, of course, he fell in love. . . .
Wealthy Chicago attorney Seth Connelly told himself he'd married Lynn McCoy only to save her family ranch. The Sagebrush, Montana, spread had once been his salvation, though Lynn had been his nemesis. But the troublemaking brat had turned into a fresh-faced beauty.... Though only days from foreclosure, Lynn was no Cinderella waiting to be rescued. Just as well, since silver-eyed Seth was no Prince Charming. She fantasized about the only kiss they'd ever shared, fourteen years ago, and yearned to be held again in his rock-hard arms. To be made his wife, in every sense of the word. Seth wanted marriage, too - but without love. Or so his loner heart said.... Silhouette Desire #1466
JUST ONE NIGHT. . . That was all Holly Fitzgerald would allow herself with the tall, dark and brooding CFO Joe Barone. Winning Baronessa Gelati's contest paled next to what she felt when the aloof Joe watched her with sexual desire blatant in his shrewd eyes. While Holly had commitments, Joe had sophistication and wealth. He looked better in a business suit than any man had a right to. But his lover's touch freed her, and For The first time made her want something more. Like Cinderella, she'd forget the real world, forget caution and for once, she'd simply enjoy the fantasy. But as the clock neared twelve, Holly knew one night with Joe wouldn't be enough. . . .
When is a rat not a rat? When Cinderella's fairy godmother turns him into a coachman - well, more of a coachboy. And what does the coachboy think of this sudden change in his life? He's delighted to find the open bags of grain in the castle larder. But soon enough, trouble begins. His sister, unchanged by the godmother's magic spell, scurries across the larder floor and is in danger of being stomped to death by the coachboy's newfound friend. How can he save her without revealing his secret? Life is full of surprises. Pumpkins turn into coaches and mice into horses, and an overworked wizard can create stranger magic than Cinderella's fairy godmother ever dreamed of. Susan Meddaugh uses her wit and animated artwork to give us a hilarious new take on an old tale in this story of an ordinary rat caught in extraordinary circumstances.
THE BRUBAKER BRIDES This wealthy Texas family needs a few good women to lasso their brood of bad boys. "My wife is nine months pregnant?"--Mac Brubaker It was a fairy tale come true for shy kitchen maid Ella McCloskey. For when millionaire rancher Mac Brubaker whisked her away for a secret wedding and secluded honeymoon, she thought she'd found her prince. But circumstances soon had Ella heading for the Texas hills, and not even stopping to pick up her glass slipper. The Cinderella bride thought she'd put all her dreams of happily ever after behind her. Until Mac showed up...just as she was about to give birth to his secret baby!
If the glass slipper fits...When shoe saleswoman Cindy Rawlins lost an expensive shoe-a $500-a-pair shoe-she desperately placed an ad before her boss found out! And when wealthy businessman Parker Stevens showed up, requesting to buy the same pair of shoes, Cindy was immediately suspicious....It happened to be a coincidence, but Cindy couldn't help but feel like Cinderella when way-out-of-her-league Parker suddenly invited her as his date to a high-society party. Intrigued to see how the rich lived, Cindy anxiously agreed. And when her gown didn't turn into rags at midnight, Cindy couldn't believe the evening wasn't a dream. But could one man who happened to know her shoe size, fill this reluctant fairy-tale princess with the belief that happy endings did happen?
THE BUSINESS TYCOON "Honor" was Texas tycoon Sterling Churchill's middle name. So when a mix-up at the local sperm bank unexpectedly made him a father-to-be, he gallantly stepped forward to marry shy beauty Susan Wilkins. It was a marriage in name only--until he gave his bride a soul-spinning kiss. Now his new wife was carrying his child and wearing a look of pure splendor. Could tough-as-nails Sterling open the rusty doors of his heart...and turn pumpkins into coaches for his Cinderella bride?
Poor Cinderellie! It was bad M enough being banished to the kitchen by her social-climbing stepmother and two husband-hunting stepsisters. Now, still wearing a Cinderella costume from a previous party, she found herself face-to-face with Jack Martin, the handsome venture capitalist who'd doused cold water on her dream of opening a restaurant!Ellie Branson thought her nightmare would end when the clock struck midnight...and the party ended. But Jack showed up the Very next day, bearing an offer she couldn't refuse. And though this Cinderella knew better than to believe in fairy tales, her millionaire suitor seemed determined to prove otherwise!
As Stuart Haley grew older, year by year, he worried more and more about the security of his famous cattle fortune. He had raised his daughters in the lap of luxury--they wanted for nothing--and all three girls had matured into lovely young women. But as he aged, Stuart craved the security that only a proper heir could provide. The two older daughters had fallen in love and left him--Stuart's only chance was that his youngest daughter, Charmaine, marry a local man and carry on in the family tradition. But that was not going to be easy. Independent and brash, Charmaine Haley had a life of her own, far away in Boston. It would be up to her father to make her return to a Kansas so incredible that life in the north would pale in comparison. A masked ball, on par with the greatest of fairy tales, would be the event of a lifetime. But to succumb to passion from behind a mask could be a cruel twist of fate--leading Charmaine back through the torment of old mistakes she thought she had left behind forever. Could the specter of true love be only old pain in disguise?
An unforgettable novel from the national bestselling sensation Fern Michaels, about a young woman's journey into the heart of the unknown...Callie James learned to survive in the squalid back alleys of Dublin. Tough, spirited, and possessed of a singular beauty, she was sent to New York to find her fortune. But everywhere she turned there were men who saw only what they wanted to see in her. Byrch Kenyon offered friendship and encouragement, but he also saw the desirable woman she would one day become. Rossiter Powers, the rich son of a respected family, saw something else in Callie--and nearly destroyed her. Hugh MacDuff, rich only in love and compassion, did his best to save her. But Callie--strong, smart and determined to succeed--insisted on taking charge of her own destiny. Praise for Fern Michaels and Her Novels "Heartbreaking, suspenseful, and tender." --Booklist on Return to Sender"A big, rich book in every way....I think Fern Michaels has struck oil with this one." --Patricia Matthews on Texas Rich220,000 Words
The ideal L.A. fairy tale for fans of Once Upon a Time and L.A. Candy, from the author of Geek Charming. Prom fever has infected LA--especially Cindy's two annoying stepsisters, and her overly Botoxed stepmother. Cindy seems to be the only one immune to it all. But her anti-prom letter in the school newspaper does more to turn Cindy into Queen of the Freaks than close the gap between the popular kids and the rest of the students. Everyone thinks she's committed social suicide, except for her two best friends, the yoga goddess India and John Hughes-worshipping Malcolm, and shockingly, the most popular senior at Castle Heights High and Cindy's crush, Adam Silver. Suddenly Cindy starts to think that maybe her social life could have a happily ever after. But there's still the rest of the school to deal with. With a little bit of help from an unexpected source and a fabulous pair of heels, Cindy realizes that she still has a chance at a happily ever after.
What will Cindy do now? When Cindy McLean goes to Belmont to clean out her apartment, she finds her old diary and is taken back to the days when she started racing in New York, after she fled Dubai. . . Find out what happened in Cindy's own words as she struggled to compete against the best male jockeys in the country. She was new to tough Belmont trainers and had trouble getting rides. But Cindy never stopped trying, and in time she was winning big races on a filly no one else thought could run. Now that Cindy can't ride anymore, her life has changed drastically. She'll need to tap some of that old determination as she sets off boldly in a new direction.
Cindy finds a special door that leads her to the robot palace.
Neonatal specialist Nathan Steele thought he'd found happiness-until tragedy struck. A widower, he wasn't looking for a fairy-tale romance. Then he met a mysteriously familiar woman at a fundraiser who raced away, leaving behind a broken high-heeled shoe-and leaving him determined to knoweverythingabout her. Hospital housekeeper Cindy Elliott refused to fall in love-especially with a wealthy doctor who seemed too charming to be true. But one kiss awakened a passion neither of them expected. . . ;and now Cindy was expecting the doctor's baby! Earning her trust sure wouldn't be easy, but Nathan was ready to do whatever it took to sweep Cindy off her feet-and carry her into happily ever after.
Cindy has trained Storm ever since he was a colt. Now he's a full-fledged racehorse and he's blindingly fast. In his three-year session at Gulfstream Park, Florida, he piles up victory after victory. Cindy is sure that storm is on his way to becoming a champion. When they get back to Whitebrook, though, disaster strikes. Cindy discovers that an incurable disease has spread through the area. Then Storm tests positive, and the vet warns that if they don't put Storm down, he may spread the disease to all the other horses. Cindy is heartbroken at the thought of losing her beloved Storm. But can she risk putting her other horses in danger to save Storm's life?
Cindy McLean and her partner, Ben al-Rihani, can't find a jockey to ride Gratis in the Kentucky Derby. The only person besides Cindy who can handle the difficult horse is a stubborn and inexperienced groom named Wolf.
A collection of 125 chef-worthy global recipes presented in international dinner menus, drawn from renowned chef Cindy Pawlcyn's informal gatherings.One of the leading female chefs, Cindy Pawlcyn has selected her favorite international recipes in this collection of complete menus from around the globe. A culinary world tour from Turkish Tomato Salad with Sumac to Ethiopian Spiced Red Lentil Stew, Cindy honed her recipes for the home kitchen (shorter ingredients lists, quicker prep time) while still delivering the level of flavor and sophistication she is known for. Including fare from some of the world's greatest food cities and countries, Cindy's Supper Club is a top chef's guide to the best of global cuisine.
How did the imperial logic underlying British and Indian film policy change with the British Empire's loss of moral authority and political cohesion? Were British and Indian films of the 1930s and 1940s responsive to and responsible for such shifts? Cinema at the End of Empire illuminates this intertwined history of British and Indian cinema in the late colonial period. Challenging the rubric of national cinemas that dominates film studies, Priya Jaikumar contends that film aesthetics and film regulations were linked expressions of radical political transformations in a declining British empire and a nascent Indian nation. As she demonstrates, efforts to entice colonial film markets shaped Britain's national film policies, and Indian responses to these initiatives altered the limits of colonial power in India. Imperially themed British films and Indian films envisioning a new civil society emerged during political negotiations that redefined the role of the state in relation to both film industries. In addition to close readings of British and Indian films of the late colonial era, Jaikumar draws on a wealth of historical and archival material, including parliamentary proceedings, state-sponsored investigations into colonial filmmaking, trade journals, and intra- and intergovernmental memos regarding cinema. Her wide-ranging interpretations of British film policies, British initiatives in colonial film markets, and genres such as the Indian mythological film and the British empire melodrama reveal how popular film styles and controversial film regulations in these politically linked territories reconfigured imperial relations. With its innovative examination of the colonial film archive, this richly illustrated book presents a new way to track historical change through cinema.
From Al Jolson in blackface to Song of the South, there is a long history of racism in Hollywood film. Yet as early as the 1930s, movie studios carefully vetted their releases, removing racially offensive language like the "N-word." This censorship did not stem from purely humanitarian concerns, but rather from worries about boycotts from civil rights groups and loss of revenue from African American filmgoers.Cinema Civil Rights presents the untold history of how Black audiences, activists, and lobbyists influenced the representation of race in Hollywood in the decades before the 1960s civil rights era. Employing a nuanced analysis of power, Ellen C. Scott reveals how these representations were shaped by a complex set of negotiations between various individuals and organizations. Rather than simply recounting the perspective of film studios, she calls our attention to a variety of other influential institutions, from protest groups to state censorship boards.Scott demonstrates not only how civil rights debates helped shaped the movies, but also how the movies themselves provided a vital public forum for addressing taboo subjects like interracial sexuality, segregation, and lynching. Emotionally gripping, theoretically sophisticated, and meticulously researched, Cinema Civil Rights presents us with an in-depth look at the film industry's role in both articulating and censoring the national conversation on race.
Over the past fifteen years, writer, producer and director Christopher Nolan has emerged from the margins of independent British cinema to become one of the most commercially successful directors in Hollywood. From Following (1998) to Interstellar (2014), Nolan's films have explored the philosophical concerns of cinema articulated through a distinctive cerebral style that is marked by a frequent experimentation with non-linear storytelling, and yet remains integrated within classical Hollywood narrative and genre frameworks. Through the contextualization and close readings of each of his films, this collection brings together academic work from a range of disciplines to examine the director's central themes and preoccupations -- memory, time, trauma, masculinity and identity -- whilst also offering analyses of otherwise marginalized aspects of his work, such as the function of music, video games and the impact of IMAX and other new technologies.
One of the most prolific and respected directors of Japanese cinema, Naruse Mikio (1905-69) made eighty-nine films between 1930 and 1967. Little, however, has been written about Naruse in English, and much of the writing about him in Japanese has not been translated into English. With The Cinema of Naruse Mikio, Catherine Russell brings deserved critical attention to this under-appreciated director. Besides illuminating Naruse's contributions to Japanese and world cinema, Russell's in-depth study of the director sheds new light on the Japanese film industry between the 1930s and the 1960s. Naruse was a studio-based director, a company man renowned for bringing films in on budget and on time. During his long career, he directed movies in different styles of melodrama while displaying a remarkable continuity of tone. His films were based on a variety of Japanese literary sources and original scripts; almost all of them were set in contemporary Japan. Many were "women's films. " They had female protagonists, and they depicted women's passions, disappointments, routines, and living conditions. While neither Naruse or his audiences identified themselves as "feminist," his films repeatedly foreground, if not challenge, the rigid gender norms of Japanese society. Given the complex historical and critical issues surrounding Naruse's cinema, a comprehensive study of the director demands an innovative and interdisciplinary approach. Russell draws on the critical reception of Naruse in Japan in addition to the cultural theories of Harry Harootunian, Miriam Hansen, and Walter Benjamin. She shows that Naruse's movies were key texts of Japanese modernity, both in the ways that they portrayed the changing roles of Japanese women in the public sphere and in their depiction of an urban, industrialized, mass-media-saturated society.
Cinema's most successful director is a commercial and cultural force demanding serious consideration. Not just triumphant marketing, this international popularity is partly a function of the movies themselves. Polarised critical attitudes largely overlook this, and evidence either unquestioning adulation or vilification& mdash;often vitriolic& mdash;for epitomising contemporary Hollywood. Detailed textual analyses reveal that alongside conventional commercial appeal, Spielberg's movies function consistently as a self-reflexive commentary on cinema. Rather than straightforwardly consumed realism or fantasy, they invite divergent readings and self-conscious spectatorship which contradict assumptions about their ideological tendencies. Exercising powerful emotional appeal, their ambiguities are profitably advantageous in maximising audiences and generating media attention.
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