Enemies With Benefits Mills Boon Dare The Mortimers Wealthy Wicked Book 5

These enemies are calling a truce... With forbidden benefits!

An indecent proposal turns bitter enemies into insatiable lovers in internationally bestselling author Zara Cox’s sizzling-hot finale to The Mortimers: Wealthy & Wicked series! Model-turned-marketing-executive Wren Bingham is the most sensual woman I’ve ever seen—and my sworn enemy. I’ve wanted the green-eyed beauty since the first time she strode into my boardroom, but I’ve never tasted her…until an outdoor encounter hot enough to warm the frigid London air leaves me craving more. With her CEO brother in rehab and Wren at the reins of Bingham Industries, I need her cooperation on a deal between our two companies. But she’s avoiding me—at least when it comes to work. So I make an indecent proposal! For every six hours she works on the deal, I’ll give her a mind-blowing orgasm. She should probably be outraged, but instead she insists on another demonstration. Sleeping with the enemy is a forbidden pleasure, and it’s not long before we’re crossing every sensual boundary. And a ten-day business trip to sun-drenched Morocco brings us even closer. Neither of us is looking for love, but that doesn’t stop our growing feelings. Until Wren is forced to make a choice that could shatter my newly awakened heart… Take control. Feel the rush. Explore your fantasies—Harlequin DARE publishes sexy romances featuring powerful alpha males and bold, fearless heroines exploring their deepest fantasies. The Mortimers: Wealthy & Wicked Book 1: Pleasure Payback Book 2: Her Every Fantasy Book 3: Driving Him Wild Book 4: Enemies with Benefits

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Samuel Butler was son and grandson of the priests. He graduated from Cambridge University in 1858. He got carried away by music and drawing. Torn with his father, in 1859-1864 he lived in New Zealand, bred sheep. He became an ardent devotee of Darwinism, his views spelled out in a study of Life and Habit (1877). Returning to England, engaged in literature and painting, lived a hermit. Traveled to Italy and Sicily. He exhibited paintings in the Royal Academy, wrote about Italian art. His prose was highly appreciated by Forster and Shaw, and later by Joyce, Lawrence, Aldous Huxley, Maugham, George Orwell. Extremely frank autobiographical novel "The Way of All Flesh" (The Way of All Flesh) was completed by the author in the 1880s, but at the author's will was not published during his lifetime and was published only in 1903. Six volumes of his notebooks were also published, correspondence. FS Fitzgerald on the back of the title page of this book Butler wrote with his hand: "The most interesting human document of all available".

James L. Machor offers a sweeping exploration of how American fiction was received in both public and private spheres in the United States before the Civil War. Machor takes four antebellum authors—Edgar Allan Poe, Herman Melville, Catharine Sedgwick, and Caroline Chesebro'—and analyzes how their works were published, received, and interpreted. Drawing on discussions found in book reviews and in private letters and diaries, Machor examines how middle-class readers of the time engaged with contemporary fiction and how fiction reading evolved as an interpretative practice in nineteenth-century America. Through careful analysis, Machor illuminates how the reading practices of nineteenth-century Americans shaped not only the experiences of these writers at the time but also the way the writers were received in the twentieth century. What Machor reveals is that these authors were received in ways strikingly different from how they are currently read, thereby shedding significant light on their present status in the literary canon in comparison to their critical and popular positions in their own time. Machor deftly combines response and reception criticism and theory with work in the history of reading to engage with groundbreaking scholarship in historical hermeneutics. In so doing, Machor takes us ever closer to understanding the particular and varying reading strategies of historical audiences and how they impacted authors’ conceptions of their own readership.

A woman from Scotland recounts her travels in the U.S., focusing particularly issues relating to women (education, employment, etc.), also discussing more general cultural matters.

A Passion for Performance: Sarah Siddons and Her Portraitists brings together three engaging essays – by Robyn Asleson, Shelley Bennett and Mark Leonard, and Shearer West – that recreate the eventful life, both on and off the stage, of the great eighteenth-century actress Sarah Siddons. Siddons was renowned for her bravura performances in tragic roles, and her fame was enhanced by the many portraits of her painted by the leading artists of the day. The greatest of these was Sir Joshua Reynolds’s Sarah Siddons as the Tragic Muse, a painting now in the Huntington Art Collections and recently studied at the Getty Center. A Passion for Performance places this magnificent portrait within the context of Siddons’s career as an actress and cultural icon. Includes a chronology of Siddons’s life by volume editor Robyn Asleson.