Lady Beware

For generations, the Cave family has been marked by scandal, madness, and violence. But after earning a reputation for bravery in the army, Horatio Cave, the new Viscount Darien, has come home to charm London society and restore the family name. He means to start with the lovely Lady Thea Debenham. The magnetism between them is immediate, but can Thea trust the dark, sexy "Vile Viscount"? And will Thea's brother Dare-the most dashing member of the Company of Rogues-believe that Horatio does not deserve the cursed Cave reputation?

She trusted him when she should have been running for her life--but his fiery kisses and warm caresses tempted her beyond her dreams, in this spellbinding tale of desire and obsession from bestselling author Fayrene Preston.

This book is NOT about how to die in a notorious city replete with opportunity rather it is about loving, hating, living and dying, and how tangled up the characters and emotions get at any given time-a surreal landscape that renders a misnomer because reality is more often than not denied. In my mind, as in Amsterdam, reality is transmutatively defined.

One of the great Renaissance playwrights, Middleton wrote tragedies essentially different from either Marlowe's or Shakespeare's, being wittier than the former and more grittily ironic than the latter. The genre of 'citizen tragedy' came into its own in the eighteenth century, but Middleton can claim to have created it: Bianca, wife of a middling commercial agent, arouses the lust of the Duke of Florence and becomes his mistress, first secretly, then openly and finally, after her husband has been seduced by the scheming Lady Livia and stabbed by Livia's brother, the Duke's wife. Livia plots her revenge, and the play ends with a banquet and a masque that are a triumph of black farce. Middleton's powerful, psychologically complex female characters and his clear-sighted analysis of misogyny are bound to impress today's audiences, but it is the pervasive irony - cynicism, even - with which he dissects the motivations of both oppressor and victim that makes him so eerily modern.