Savage Awakening

He wants her. But will he take her…? For two long years, news reporter Matthew Quinn was held captive by rebel forces. His dramatic escape made headlines. But Matt has returned scarred, believing that he can never love another woman…. Matt isn't prepared for Felicity Taylor and the sexual chemistry between them is instant. Matt wants her—but can he take her? Or, must he first reveal the secrets that are haunting him—and holding him back…?

A group of former Navy SEALS, the Alpha Pack is a top-secret team of wolf shifters with Psy powers combating the greatest dangers in the world. But sometime those dangers are more intimate than they bargained for... After a mission goes wrong, Aric Savage is taken prisoner. Half-dead and despairing, he makes a stunning discovery: his Pack mate Micah Chase, who was reported dead, is a fellow captive. When the Alpha team goes into full-rescue mode, accompanying them is an absolute stunner with sable hair--and a spine of solid steel. LAPD officer and Psy Dreamwalker Rowan Chase has one priority: her brother Micah's recovery. Still, she can't help but be drawn to Aric, the ruggedly handsome wolf shifter who pleasures her as no man ever has--however fleeting their affair is destined to be. But when Aric's life is endangered, Rowan must ask herself what she's willing to sacrifice in the name of love, for the man fated to be her Bondmate.

In Master Plots, Jared Gardner examines the tangled intersection of racial and national discourses in early American narrative. While it is well known that the writers of the early national period were preoccupied with differentiating their work from European models, Gardner argues that the national literature of the United States was equally motivated by the desire to differentiate white Americans from blacks and Indians. To achieve these ends, early American writers were drawn to fantasies of an "American race," and an American literature came to be defined not only by its desire for cultural uniqueness but also by its defense of racial purity.

Savage Awakening maps the journey of spiritual initiation experienced by Witches, Healers, and other Strange Creatures. The journey is unique for each of us, but the terrain is the same. This book maps that terrain and gives crucial information and support as you traverse this often treacherous territory. Grounding, assuring, supportive, and real, author Sadee Whip walks with the reader through the gut-wrenching, profound, beautiful, and terrifying experience that is Initiation. Written for people new to this path, as well as those who are advanced along it, the reader will discover information that is found nowhere else about the Four Paths of Initiation, and gain tools and insights for how to navigate this territory. Sadee is brutally honest about what the initiatory path is as she guides the reader with compassion, straight-talk, and keen insight through the remarkable journey of being utterly undone and remade into something truly strange. Initiation is real and it is savage. This book serves not only individuals on this path, but practitioners who are encountering the increasing number of people who are being caught up by it. The mitigating orientation and practical approach revealed in these pages can make the difference between swimming or sinking for those truly in the grips of this path. Throughout the book, Sadee charges us with becoming more relational, ecosystemic, and honoring of the many beings of the Unseen realm. Her wisdom guides us deeper into our own embodied wisdom and the ability to learn from the spirits themselves, leading us ultimately toward the ancient being at the heart of it all, the one she calls the Dragon Mother.

Literary use of the Gothic is marked by an anxious encounter with otherness, with the dark and mysterious unknown. From its earliest manifestations in the turbulent eighteenth century, this seemingly escapist mode has provided for authors a useful ground upon which to safely confront very real fears and horrors. The essays here examine texts in which Gothic fear is relocated onto the figure of the racial and social Other, the Other who replaces the supernatural ghost or grotesque monster as the code for mystery and danger, ultimately becoming as horrifying, threatening and unknowable as the typical Gothic manifestation. The range of essays reveals that writers from many canons and cultures are attracted to the Gothic as a ready medium for expression of racial and social anxieties. The essays are grouped into sections that focus on such topics as race, religion, class, and centers of power.

A spellbinding novel that places one family’s tragedies against the uncontainable life force of the land itself. Near a village high in the Pyrenees, Domènec wanders across a ridge, fancying himself more a poet than a farmer, to “reel off his verses over on this side of the mountain.” He gathers black chanterelles and attends to a troubled cow. And then storm clouds swell, full of electrifying power. Reckless, gleeful, they release their bolts of lightning, one of which strikes Domènec. He dies. The ghosts of seventeenth-century witches gather around him, taking up the chanterelles he’d harvested before going on their merry ways. So begins this novel that is as much about the mountains and the mushrooms as it is about the human dramas that unfold in their midst.

In Print Technology in Scotland and America Louis Kirk McAuley investigatesthe mediation of popular-political culturein Scotland and America, from thetransatlantic religious revivals known as theGreat Awakening to the U.S. presidentialelection of 1800. By focusing on Scotlandand America—and, in particular, thetension between unity and fragmentationthat characterizes eighteenth-centuryScottish and American literature andculture—Print Technology aims to increaseour understanding of how tensions withinthese corresponding political and culturalarenas altered the meaning of printas an instrument of empire and nationbuilding. McAuley reveals how seeminglydisparate events, including journalism andliterary forgery, were instrumental andinnovative deployments of print not as a liberation technology (as Habermas’s analysis of print's structural transformation of the public sphere suggests), but as a mediator of political tensions.