By Lauren Blakely
“Let me regulate your pleasure.” Their international was once intercourse, love, and lies. He intoxicated her. Commanded. ate up. With a grimy brain and a mouth to check, Clay Nichols is every thing Julia by no means knew she sought after and precisely what she can't have. He walked into her lifestyles one evening and unlocked excitement in her that she by no means knew was once attainable. owning her physique, fascinating her each notion. Which makes him manner too harmful for Julia to probability her center, on condition that she has a value tag on her head. She ran after one astonishing week with him, yet now he's again, and made up our minds to make her his personal. regardless of the fee. She was once a pretty drug to him. Fiery, unforgettable, and not sufficient, Julia is an enigma, and Clay isn't prepared to allow her move with no struggle. yet she's acquired darkish secrets and techniques of her personal that threaten to ruin any likelihood of happiness. She’s a sought after girl – the stakes are excessive, the chance lurks round each nook, and but the trap among them can’t be denied. Can humans burned via love belief back while wish and keenness are met through risk at each flip? A sensual, emotionally-charged erotic romance from the recent York instances and united states this day Bestselling writer Lauren Blakely...
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Extra resources for Night After Night (Seductive Nights, Book 1)
Sample text
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The Virgin and the Bride: Idealized Womanhood in Late Antiquity. Cambridge, MA: Harvard University Press. Frye, Northrop (1976). The Secular Scripture: A Study of the Structure of Romance. The Charles Eliot Norton Lectures, 1974–5. Cambridge, MA: Harvard University Press. Ha¨gg, Tomas (1983). The Novel in Antiquity. Berkeley and Los Angeles: University of California Press. , J. Bradley Chance, and Judith Perkins, eds. (1998). Ancient Fiction and Early Christian Narrative. Society of Biblical Literature Symposium Series 6.
Certainly both social settings and constraints are never fleshed out. Thomas was expert at handling the laisse form. In contrast, the Boeve poet(s), after a promising beginning where short laisses are used to focus on the important features of the plot, allows the units to expand to unwieldy length. Tone distinguishes these two romances most. The hero of Boeve, though described as le curteis guerrer, deserves only the last word: arrogant, stupid, rude, and rash, his nobility and dignity are too often abrogated in favor of vigorous, even brutal words and acts, whose details destroy idealism.