Summer, 1976. Luz de Rueda returns to her beloved Spain and takes a job as the biographer of a famous artist. On her first day back in Cadiz, she encounters a bewitching, passionate young gypsy, Leandro, who immediately captures her heart, even though relationships with his kind are taboo. Haunted by this forbidden love, she meets her new employer, the sophisticated Andres de Calderon. Reserved yet darkly compelling, he is totally different to Leandro - but almost the gypsy's double. Both men stir exciting and unfamiliar feelings in Luz, although mystery and danger surround them in ways she has still to discover. Luz must decide what she truly desires as glistening Cadiz, with its enigmatic moon and whispering turquoise shores, seeps back into her blood. Why is she so drawn to the wild and magical sea gypsies? What is behind the old fortune-teller's sinister warnings about 'Gemini'? Through this maze of secrets and lies, will Luz finally find her happiness ... or her ruin?

Venetia Aston-Montague has escaped to Italy's most captivating city to work in her godmother's architect firm, putting a lost love behind her. For the past ten years she has built a fortress around her heart, only to find the walls tumbling down one night of the carnival when she is rescued from masked assailants by an enigmatic stranger, Paolo Barone. Drawn to the powerfully seductive Paolo, and despite warnings of his Don Juan reputation and rumours that he keeps a mistress, Venetia can't help being caught up in the smouldering passion that ignites between them. When she finds herself assigned to a project at his magnificent home deep in the Tuscan countryside, Venetia not only faces a beautiful young rival but also a sinister count and dark forces in the shadows, determined to come between them. Can Venetia trust that love will triumph, even over her own demons? Or will Paolo's carefully guarded, devastating secret tear them apart for ever?

Coral Sinclair, a beautiful but naive young photographer, learns within days of calling off her wedding that she has also lost her father. Leaving her life in England, she sails to Kenya to take up her inheritance - Mpingo, the plantation that was her childhood home. On the voyage, Coral meets a charismatic stranger and their mystifying attraction shakes her to the core. Later she finds out his identity and is warned that the man is not to be trusted. Rafe de Monfort, owner of a nightclub and the neighbouring plantation, is not only a notorious womanizer but also his affair with Coral's stepmother may have contributed to her father's death. Or so the rumours go. As Coral is swept up in the undeniable chemistry between her and Rafe, a tentative romance blossoms in the exotic, dangerous wilderness of Africa. But when Coral delves into Rafe's past, she questions his true motives. Is the infamous lothario just after her inheritance? Or does Rafe's secret anguish colour his every move, making him more vulnerable than Coral could ever imagine?

Focusing on questions of space and locale in children's literature, this collection explores how metaphorical and physical space can create landscapes of power, knowledge, and identity in texts from the early nineteenth century to the present. The collection is comprised of four sections that take up the space between children and adults, the representation of 'real world' places, fantasy travel and locales, and the physical space of the children's book-as-object. In their essays, the contributors analyze works from a range of sources and traditions by authors such as Sylvia Plath, Maria Edgeworth, Gloria Anzaldua, Jenny Robson, C.S. Lewis, Elizabeth Knox, and Claude Ponti. While maintaining a focus on how location and spatiality aid in defining the child's relationship to the world, the essays also address themes of borders, displacement, diaspora, exile, fantasy, gender, history, home-leaving and homecoming, hybridity, mapping, and metatextuality. With an epilogue by Philip Pullman in which he discusses his own relationship to image and locale, this collection is also a valuable resource for understanding the work of this celebrated author of children's literature.

Set in Spring, 1950 Alexandra de Falla, a half-English, half-Spanish young writer abandons her privileged but suffocating life in London and travels to Spain to be reunited with her long-estranged family. Instead of providing the sense of belonging she yearns for, the de Fallas are riven by seething emotions, and in the grip of the wild customs and traditions of Andalucia, all of which are alien to Alexandra. Among the strange characters and sultry heat of this country, she meets the man who awakens emotions she hardly knew existed. But their path is strewn with obstacles: dangerous rivals, unpredictable events, and inevitable indiscretions. What does Alexandra's destiny hold for her in this flamboyant land of drama and all-consuming passions, where blood is ritually poured on to the sands of sun-drenched bullfighting arenas, mysterious gypsies are embroiled in magic and revenge, and beautiful dark-eyed dancers hide their secrets behind elegant lacy fans?

In ancient Greece, one of the twelve labours of Heracles was to bring back a golden apple from the Garden of Hesperides. To archaeologist Oriel Anderson, joining a team of Greek divers on the island of Helios seems like the golden apple of her dreams. Yet the dream becomes a nightmare when she meets the devilish owner of the island, Damian Lekkas. In shocked recognition, she is flooded with the memory of a romantic night in a stranger's arms, six summers ago. A very different man stands before her now, and Oriel senses that the sardonic Greek autocrat is hell-bent on playing a cat and mouse game with her. As they cross swords and passions mount, Oriel is aware that malevolent eyes watch her from the shadows. Dark rumours are whispered about the Lekkas family. What dangers lie in Helios: a bewitching land where ancient rituals are still enacted to appease the gods, young men risk their lives in the treacherous depths of the Ionian Sea, and the volatile earth can erupt at any moment? Will Oriel find the hidden treasures she seeks? Or will Damian's tragic past catch up with them, threatening to engulf them both?

Focusing on questions of space and locale in children's literature, this collection explores how metaphorical and physical space can create landscapes of power, knowledge, and identity in texts from the early nineteenth century to the present. The collection is comprised of four sections that take up the space between children and adults, the representation of 'real world' places, fantasy travel and locales, and the physical space of the children's book-as-object. In their essays, the contributors analyze works from a range of sources and traditions by authors such as Sylvia Plath, Maria Edgeworth, Gloria Anzaldua, Jenny Robson, C.S. Lewis, Elizabeth Knox, and Claude Ponti. While maintaining a focus on how location and spatiality aid in defining the child's relationship to the world, the essays also address themes of borders, displacement, diaspora, exile, fantasy, gender, history, home-leaving and homecoming, hybridity, mapping, and metatextuality. With an epilogue by Philip Pullman in which he discusses his own relationship to image and locale, this collection is also a valuable resource for understanding the work of this celebrated author of children's literature.

When Catriona Drouot, a young music therapist, honours an opera diva's dying request to help her son, Umberto Monteverdi, recover his musical gift, she knows it will be a difficult assignment. She had shared a night of passion with the once-celebrated composer ten years before, with unexpected consequences. The extent of her challenge becomes apparent when she arrives at her client's estate on the glittering shores of Lake Como. Robbed of his sight by a nearfatal car accident, the man is arrogant, embittered and resistant to her every effort to help him. Still, Catriona sings a siren's call within him that he cannot ignore. Caught up in the tempestuous intrigues at Umberto's Palladian mansion, Catriona discovers that her attraction to the blind musician is as powerful as ever. How can she share what she has hidden from him for the past decade? Soon she realises that hers is not the only secret that is rippling uneasily below the surface. Dark forces haunt the sightless composer, threatening his life - for the second time. Concerto is a sensual and romantic story of lost love and forgiveness, destiny and difficult choices, and of a heroine determined to put things right at last.

A beautifully illustrated exploration of how Victorian novelty picture books reshape the ways children read and interact with texts The Victorian era saw an explosion of novelty picture books with flaps to lift and tabs to pull, pages that could fold out, pop-up scenes, and even mechanical toys mounted on pages. Analyzing books for young children published between 1835 and 1914, Playing with the Book studies how these elaborately designed works raise questions not just about what books should look like but also about what reading is, particularly in relation to children's literature and child readers. Novelty books promised (or threatened) to make reading a physical as well as intellectual activity, requiring the child to pull a tab or lift a flap to continue the story. These books changed the relationship between pictures, words, and format in both productive and troubling ways. Hannah Field considers these aspects of children's reading through case studies of different formats of novelty and movable books and intensive examination of editions that have survived from the nineteenth century. She discovers that children ripped, tore, and colored in their novelty books-despite these books' explicit instructions against such behaviors. Richly illustrated with images of these ingenious constructions, Playing with the Book argues that novelty books construct a process of reading that involves touch as well as sight, thus reconfiguring our understanding of the phenomenology of reading.

A beautifully illustrated exploration of how Victorian novelty picture books reshape the ways children read and interact with texts The Victorian era saw an explosion of novelty picture books with flaps to lift and tabs to pull, pages that could fold out, pop-up scenes, and even mechanical toys mounted on pages. Analyzing books for young children published between 1835 and 1914, Playing with the Book studies how these elaborately designed works raise questions not just about what books should look like but also about what reading is, particularly in relation to children's literature and child readers. Novelty books promised (or threatened) to make reading a physical as well as intellectual activity, requiring the child to pull a tab or lift a flap to continue the story. These books changed the relationship between pictures, words, and format in both productive and troubling ways. Hannah Field considers these aspects of children's reading through case studies of different formats of novelty and movable books and intensive examination of editions that have survived from the nineteenth century. She discovers that children ripped, tore, and colored in their novelty books-despite these books' explicit instructions against such behaviors. Richly illustrated with images of these ingenious constructions, Playing with the Book argues that novelty books construct a process of reading that involves touch as well as sight, thus reconfiguring our understanding of the phenomenology of reading.