The Maddest Obsession

She fears the dark.He rules it.Her dresses are too tight, her heels too tall. She laughs too loudly, eats without decorum, and mixes up most sayings in the book. Little do most know it's just a sparkly disguise, there to hide one panic attack at a time.Nobody can crack Gianna's facade . . . no one anyway, until he comes along.Most see a paragon of morality; a special agent upholding the law. In the New York underworld, others know him as a hustler, a killer, his nature as cold as the heart of ice in his chest. Christian Allister has always followed the life plan he'd envisioned in his youth, beneath the harsh lights of a frigid, damp cell. With a proclivity for order and the number three, he's never been tempted to veer off course. But perhaps one should never say never . . .One winter night and their lives intertwine. She hates him--his stone-cold demeanor, his arrogance and too-perceptive eye--but over the years, even as their games consist of insulting each other's looks and intelligence, she begins to live to play with him.Nowhere in Christian's plans had he ever prepared for Gianna. She's chaos embodied, not his type, and married, but none of that can stop his eyes from following her wherever she goes.All along, she doesn't even know that she's his--his frustration, his fascination.His maddest obsession.*Can be read as a standalone

NOTE: This is a special edition cover. The content is the same as the original work. She fears the dark. He rules it. Her dresses are too tight, her heels too tall. She laughs too loudly, eats without decorum, and mixes up most sayings in the book. Little do most know it's just a sparkly disguise, there to hide one panic attack at a time. Nobody can crack Gianna's facade . . . no one anyway, until he comes along. Most see a paragon of morality; a special agent upholding the law. In the New York underworld, others know him as a hustler, a killer, his nature as cold as the heart of ice in his chest. Christian Allister has always followed the life plan he'd envisioned in his youth, beneath the harsh lights of a frigid, damp cell. With a proclivity for order and the number three, he's never been tempted to veer off course. But perhaps one should never say never . . . One winter night and their lives intertwine. She hates him-his stone-cold demeanor, his arrogance and too-perceptive eye-but over the years, even as their games consist of insulting each other's looks and intelligence, she begins to live to play with him. Nowhere in Christian's plans had he ever prepared for Gianna. She's chaos embodied, not his type, and married, but none of that can stop his eyes from following her wherever she goes. All along, she doesn't even know that she's his-his frustration, his fascination. His maddest obsession.

This anthology brings together twenty-eight lively and readable short stories by nineteenth-century women writers, including gothic tales to romances, detective fiction and ghost stories. Containing short fiction by well-known authors such as: * Maria Edgeworth * Mary Shelley * Elizabeth Gaskell * Margaret Oliphant Nineteenth-Century Short Stories by Women also includes: * a scholarly introduction * biographies for each of the authors * full explanatory notes and suggestions for further reading * a critical commentary, publication details and historical context * a full and wide-ranging bibliography The bibliography of resources and further reading will enable those interested in pursuing research on any author or topic to do so with ease, and a thematic index will enable teachers to select material best suited to their courses.

The Accidental American is a look at the underside of 17th century America, the adventure tale of a British lad who is rescued at sea by Captain Kidd, jumps ship in Charleston and makes his precarious way to New York, where he is reclaimed by Captain Kidd; falls in love with Kidd's young wife, Sarah, who instructs him in the myriad ways of love, short of sinful fornication. When Kidd goes back to privateering he, knowing of his young wife's feeling for Christopher, insists that he come along. As history tells us, the expedition ends badly for Kidd, but not for Christopher, who is freed from prison by his father and introduced to the son he did not know he had. Returning to New York with his son, he marries Sarah and they retire to a peaceful life in New Jersey.

For more than two years, Rose Elders and her daughter Elizabeth were hounded, bullied and intimidated almost to the point of madness, all because certain junior public servants misused their power, while senior ones who could have stopped it failed to use theirs as they should have. It all started when Elizabeth found she was being stalked by a well-known local misfit who was clearly trying to gain power over the women in order to get his hands on their money. He made a trumped-up claim to the local Social Services mental health team that Elizabeth was abusing her mother, and when Elizabeth complained that he was stalking her he accused her of libel. Then the social worker who had appointed herself to handle the case, for perverted reasons of her own, decided to take the stalker’s side and set out to have Elizabeth certified. Fortunately, her attempts were thwarted by doctors who knew better, but this did not prevent her from making the Elders’ life hell for two years.The author has written A Dangerous Obsession, based on a true story, to show how open to abuse UK mental health legislation is.

A lively and reliable narrative account of the horror genre, featuring new and revised material throughout The Horror Film: An Introduction surveys the history, development, and social impact of the genre. Covering American horror cinema from its earliest period to the present, this reader-friendly volume explores the many ways horror movies have been received by filmmakers, critics, and general audiences throughout the decades. Concise, easily accessible chapters describe historical instances of the genre's social reception based on primary research, analyze landmark films such as Frankenstein, Invasion of the Body Snatchers, and The Texas Chain Saw Massacre, and more. Incorporating recent scholarship on the genre, the second edition of The Horror Film contains new discussion and context for Hollywood horror films in the 1980s and 1990s, as well as notable developments in the genre such as “torture porn,” found-footage horror, remakes and reboots of past horror films, zombies, and the “elevated horror” debate. This edition explores the rise of new filmmakers such as Ari Aster, Robert Eggers, and Jordan Peele, surveys horror films made by women and African American filmmakers, and investigates contemporary issues in the production and consumption of horror films. Combining historical narrative with close readings of significant works, The Horror Film: Covers major works in the genre such as Cat People, Halloween, and Bram Stoker's Dracula Examines important antecedents including gothic literature and the Grand Guignol Theater Offers thorough analyses of the style, context, and themes of specific horror milestones Provides examples of close analysis that can be applied to a wide range of other horror films Discusses important representative titles across the genre's evolution, including more recent films such as 2017's Get Out The Horror Film: An Introduction, Second Edition, is an ideal textbook for undergraduate surveys of the horror genre and other courses in American film history, and an invaluable resource for scholars, lecturers, and general readers with an interest in the subject.