Royal Enchantment

She married the king. She wanted the man. Guinevere's marriage to Arthur was a political partnership, never a romance. Merlin knows that the king's court, newly restored at a medieval theme park, will only be complete if Arthur has his lady. Little did anyone suspect that once Guinevere gets a taste of twenty-first-century freedoms that this ancient queen would lose interest in belonging to any man—even a royal one. It takes a dragon, and some passionate nights spent in each other's arms, to lure her back to her husband's side. Arthur is willing to accept Gwen's help in protecting the new Camelot from a fae menace, but the bigger challenge will be wooing back Guinevere for a second chance at love…

Family comes first. Desire second. At least, that's how it's supposed to be... Lucian has better things to do than hunt down a creature who may or may not exist—a siren whose singing voice can heal anything. But with his brother's life depending on his success, he sets out, only to be distracted by a woman whose beauty is enough to stir the desire he'd long ago thought was gone. Unfortunately, courting her is as dangerous as the enemy hunting them down, for Siovon would rip his heart out before allowing him to find her sister. Siovon doesn't trust Lucian, no matter how much his every touch ignites her passion. After being held captive for the last decade, she will do anything it takes to find and protect her sister—including lying to strike a deal with the handsome vampire. If giving up her life means Calysta would be safe, then so be it. However, the more time she spends with Lucian, the harder it becomes to ignore the powerful truemate call binding them together. The line between true love and duty to family becomes blurred in this battle of the hearts, but Siovon and Lucian will learn the hard way that some sacrifice might be worth it in the end. That is, if it doesn't tear them apart first.

The Vampire Prince risks it all in the war with the Fae. Callie discovers untold powers, connects with her past, and transforms in a way she never expected. The rescue of her sister teeters in the balance. A centuries-old sorceress, vampire magic, and a horrifying blood exchange thrust her into a new state and unexpected consequences. Logan taps into his supernatural abilities to save Callie and her sister. Yet he meets with forces more powerful than anticipated. A life-changing event releases his strength as never before. The prince must save the woman he loves, and the very world he lives in.

She married the king. She wanted the man.

In Enchanted Islands, renowned art historian Mary D. Sheriff explores the legendary, fictional, and real islands that filled the French imagination during the ancien regime as they appeared in royal ballets and festivals, epic literature, paintings, engravings, book illustrations, and other objects. Some of the islands were mythical and found in the most popular literary texts of the day—islands featured prominently, for instance, in Ariosto’s Orlando furioso,Tasso’s Gerusalemme liberata, and Fénelon’s, Telemachus. Other islands—real ones, such as Tahiti and St. Domingue—the French learned about from the writings of travelers and colonists. All of them were imagined to be the home of enchantresses who used magic to conquer heroes by promising sensual and sexual pleasure. As Sheriff shows, the theme of the enchanted island was put to many uses. Kings deployed enchanted-island mythology to strengthen monarchical authority, as Louis XIV did in his famous Versailles festival Les Plaisirs de l’île enchantée. Writers such as Fénelon used it to tell morality tales that taught virtue, duty, and the need for male strength to triumph over female weakness and seduction. Yet at the same time, artists like Boucher painted enchanted islands to portray art’s purpose as the giving of pleasure. In all these ways and more, Sheriff demonstrates for the first time the centrality of enchanted islands to ancient regime culture in a book that will enchant all readers interested in the art, literature, and history of the time.

Max Weber viewed modern life as disenchanted, an arena from which scientific inquiry had banished magic. In contrast, Mark Schneider argues intriguingly that enchantment—the sense that we are confronted by inexplicable phenomena—persists in the world today, although it has shifted from the natural to the cultural arena. Culture and Enchantment shows that students of culture today operate in social and intellectual circumstances similar to those of seventeenth-century natural philosophers. Just as Newton was drawn to alchemy, scholars today are fascinated by ghostly and mercurial agents thought to account for the meanings of cultural entities. For interpretive disciplines, Schneider suggests, meaning often behaves behaves as mysteriously as the apparitions pursued by centuries ago by natural philosophers. He demonstrates this using two case studies from anthropology: Clifford Geertz's description of Balinese cockfights and Yoruba statuary, and Claude Levi-Strauss's analyses of myths. These provide a basis for actively engaging disputes over the meaning and interpretation of culture. Culture and Enchantment will appeal to an interdisciplinary audience in anthropology, sociology, history, history and sociology of science, culture studies, and literary theory. Schneider's provocative arguments will make this book a fulcrum in the continuing debate over the nature and prospects of cultural inquiry.

A skilled painter must stand up to the ancient power of the faerie courts--even as she falls in love with a faerie prince--in this gorgeous debut novel. 6 x 9.

This book concerns the experience of enchantment in art. Considering the essential characteristics, dynamics and conditions of the experience of enchantment in relation to art, including liminality, it offers studies of different kinds of artistic experience and activity, including painting, music, fiction and poetry, before exploring the possibility of a life oriented to enchantment as the activity of art itself. With attention to the complex relationship between wonder in art and the programmatic disenchantment to which it is often subject, the author draws on the thought of a diverse range of philosophers, sociological theorists and artists, to offer an understanding of art through the idea of enchantment, and enchantment through art. An accessible study, richly illustrated with experience – both that of the author and others – Art and Enchantment will appeal to scholars and students of sociology, anthropology, philosophy, and anyone with interests in the nature of aesthetic experience.

She married the king. She wanted the man. Guinevere's marriage to Arthur was a political partnership, never a romance. Merlin knows that the king's court, newly restored at a medieval theme park, will only be complete if Arthur has his lady. Little did anyone suspect that once Guinevere gets a taste of twenty-first-century freedoms that this ancient queen would lose interest in belonging to any maneven a royal one.

Who says the holiday season is just for humans? For all the holly-jolly times, family gatherings are complex no matter who—or what—you are. When you’re hunting for the latest “it” toy to stuff a stocking, it doesn’t matter if you’re alive or Undead, fanged or furry—you’re just as desperate to be the cool dad. And then there are the family grumps who never send cards, the ones who eat all the good candy, and those who drool and dig up the neighbor’s yard. No, the Yuletide Season isn’t for the faint of heart—and sometimes it’s downright demonic—but holiday miracles make it all worthwhile. Chance encounters and unexpected forgiveness remind us that joy doesn’t come in a gift-wrapped box. A novella from the world of the Dark Forgotten paranormal romance series