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I've googled and did everything I could think of CC and came up blank. The book was set in Britain, those are always my favorite, because its like traveling for cheap. Julia, girlfriend, I am sooo confused! Fosythe might just have an R in it! Finding old books is hard work, especially with a monthly series like Harlequin. Have you seen the site www. If you can't find anything else, maybe one of those titles might ring a bell? And good luck! Okay, I have a "Name that Book" for you all.
Something about the hero saving the heroine and her newborn baby who are stranded in the snow? It's one I swear I came across in this forum and thought I had read it before, but decided I'd go back to it and check later, only now I can't find it. I would say I read the description of it either in this forum, or in something linked from this forum. It was a short story written by Linda Howard called Bluebird Winter. Thanks, bookbeat! That's it, and now I see that another book I was thinking of was Sarah's Child , which is slightly connected to Bluebird Winter. It is? I didn't know that!
Sarah's Child is one of my favorites. I'm going to have to go look for Bluebird Winter now! Apparently Almost Forever is slightly connected too, although I'm not sure how. The hero in Bluebird appears younger in Sarah's Child though according to an Amazon review. Is it the young neighbor who lived next door with his Mom and helped Sarah in the store?
I can't remember his name, Derek maybe? I am looking for a book I read before I don't know the title or author. It is set in England near the Thames. In the beginning the heroine is a highwayman dressed as a boy and is in charge of a group of orphaned boys. She tries to rob a nobleman and he captures her and takes her to his home to be punished.
When they go to spank her they figure out she is a she and he decides to keep her and train her to be a lady. In the end she ends up being or looking like someone important that they were looking for all along.
Some other random things: I think she had her first "tub" bath and compared it to bathing in the Thames. I believe she had long red hair. I have read all the possible ones. I would love to find this book. I have been looking for more than 3 years now! Any help would be great! Hi winnie, welcome to the group! Thanks Julia, but I don't think either of these are it by the descriptions. I looked at the description and I don't think that it is the book I am looking for. Looks like it is along the same lines though.
I'll get it and read it just to be sure. Any more ideas? Winnie, can you remember anything else about the book? Anything at all? Yeah I read Captain Jack's Woman not too long ago and that doesn't sound like a match. Winnie: wish I could help ya, but I don't know the book you're looking for. It sounds like a good read, though, so I'll be watching this thread to see what you find out. Good luck! CC, Let's see I read it when I was a teen so it was from sometime before about The robbery starts from like the the first page.
She was young and virginal. He was maybe ish. Set in the regency era I believe. Sorry I don't remember anything else right now. Maybe someone here will remember this one: I read it in college, so it would have been published pre or so. It's a historical romance set in the crusades time period in England. The heroine has a brother I think maybe he's the one who ends up becoming friar tuck. The hero who is a knight of some sort and the heroine travel across country with her brother and some other people as a group.
They're going to save some girl I think maybe, who turns out to be blind? I do remember that there's a bar brawl scene at one point. Sorry so vague, but it's been a long time since I read it. I remember really liking it though and I'd like to re-read it and maybe see if the author has written anything else. I dont remember if the woman was an actress. But she was a beautiful woman who got stranded and a rancher gave her a job. I "borrowed" a book trilogy from my Grandpa who loved to read romance novels!
He can't see well enough now about 15 years ago that took place in the American colonies and some islands in the Gulf of Mexico that were used by pirates. There was a hurricane in one where the heroine lost her memory and was rescued by a Spanish galleon and was on the verge of marrying a Spanish noble when her memory came back and her pirate husband rescued her before they both were executed.
She was courted by at least one other pirate, maybe Jean LaFitte? I think in the 3rd book they retired and settled down on his estate in the Carolinas or Virginia under his real name. Classic bodice-rippers all three, but I thought they were wonderful at the time and reread them at least once, maybe twice. I remembered the author!!! Valerie Sherwood I was slicing up potatoes for beef stew and it just popped into my head! The books were Nightsong , Windsong , and Lovesong. Not necessarily in that order. This is an add on to my message I still think it was one of Janet Dailey's State books, but it might have been the one about Utah.
Land Of Enchantment was set in New Mexico. Katybear, Check out this page, which lists books that touch on the Robin Hood legend and characters. Many of those listed are romances. The story opens on Elyse overseeing the wedding preparation of her cousin female. During the ceremony she slips away to the bridal chambers to make sure every thing is everything where she is kidnapped by Max and his cronies. Any suggestions to the title and author would be really appreciated, I am longing to re-read this story. Dainty, that sounds an awful lot like Jude Devereaux 's Velvet Angel.
The hero's name was Miles, though, and the heroine's was Elizabeth. He kidnapped her by mistake in a rolled up carpet. I read it not too long ago. They end up in the north wintering over in a castle and getting involved with some bad guys from the hansiatic league. I was thinking it was set in the Elizabethan era, though. It's one of Woodiwiss' best, in my opinion. Wasn't the heroine in that one also rolled up in a carpet? Thanks a million, katybear. You guys are the best. But Knight in Shining Armor is awesome! Dainty - Glad to help! I'm not nearly as well-read romance-wise as most of the people here, so I confess I was absurdly excited when I recognized the book!
Don't you just love those tried n true plot devices? I got three books that I need help finding one is driving me "bonkers" 'cause I didn't like it the first time around, but message 21 sounds like it and I thought I knew the name, and the more I try to remember ahh I don't remember the author. He's a utter bastard, but considering that his little daughter screams evertime he comes near her that would make anyone mad at the world.
They met on a ship, the hero having a hard time comforting his travel-worn daughter, and the heroine who happen to be a spy for her side is carrying some priceless porcelain doll which she kindly lends the child. Somehow losses sight of them in the crowd and has to track down the guy, the child and the doll, because the doll has a secret compartment with vital info need by her side.
I think the guy was also a spy for his side too. She did find them and had to pose as a nanny for hire so that she can steal the doll back before its secrets are discovered. The Duke is dead and his brother plots to do away with the new born heiress and assume the title. The dying duchess is aware of the plot and after the delivery of her daughter she details the plot in a letter which she places in the spine of her bible and on her the last of her dying strength she takes the newborn, warms the family seal and brands the child on her "butt".
Child escape death as the henceman kind of a Finnegan character the villain used decided to raise the child as his own so one day he can claim the title thru the child. She's raised as a pickpocket and on her first time out she gets caught by the hero who likens her appearance to one of their ilk. Hi Everyone! Actually found the title right one, silly me and the author of book 1. It's called Loving Julia by Karen Robards which was suggested to me on talk forum at www.
I usually like time travel stories too. It appears to be a book that generates a lot of divided opinion. A lot of people really like it, but an equal number seem to hate it. I'm looking for two books: 1 is a gothic romance, and I only remember a few details. First, it was by an author I wasn't familiar with, and had a black cover with no people on it.
I know that the hero accused the heroine of being a witch, which she denied, but after they slept together, he made note that she had two "witches marks" that were birthmarks above her pubic line. Also, she was clueless about sex, and asked the hero what "fellate me" meant because she overheard another man say it to a woman I remember he had to teach her all about sex, and she was so afraid of it, that he tied himself up for her so she wouldn't have to fear being overpowered.
I remember she wore a jean skirt with buttons all the way to the floor, and they had sex on a kitchen table. Thanks, Ireland. Now if I could only get relief from the 3RD. This one I found on another site and it sounds so good, I would like to read it Ring any bells?
Message 43 O. I know this is kind of late but I just read your 3 as part of my search - I am still looking for the book above in post I see you found it. Hi Winnie, Whisper to Me of Love isn't your book of 21? I could have sworn that your book was solved in another thread Anyho, here's an overview for Whisper to Me of Love by Shirlee Busbee A whisper of Passion She was a raven-haired waif from the streets of london - a wild innocent to be rescued A spirited beauty she would captivate Royce Manchester's jaded heart-while resisting the smoldering desire she felt for her virile protector.
When fate hurls them together in , their lives are changed forever. A whisper of Danger In Royce's glittering world of money and privilege, young Morgana discovered the shocking sercret of her true identity- entangling the wealthy American planter in a deadly skein of aristocratic family intrugue. But grave evil would only feed the flames of love that knew no bounds and glorious rapture that would not be denied.
Hope you find your story. She's supposed to be watching this one guy and there is a scene with him where he is giving her a massage with oil etc. I got it at this used book sale these old ladies in my neighborhood had in their garage but after i read my grandma took and i never saw it again. Here's another one. This book is called something like Second Chance or something to that effect.
It's about this deaf woman a scientist who dies getting hit by a car while crossing a street after work. She goes to a "heaven" like place where this apparent angel tells her she wasn't supposed to die so she gets another chance. She ends up in the pass in the body of this woman who was in a coma maybe? It ends happily ever after with her wining back the husbands love And one more kind of similar to the last one. Starts out with this car crash scene.
Woman in car crash hits her head apparently and can't remember anything of who she is. Her husband finds her but she doesn't recognize him and passes out and into a coma. She wakes has no idea about anything, doesn't even recognize her own face. She goes home and the reader gradually finds out that she was not a nice person but since she can't remember She lives in a huge house with her husband and these apparently French siblings who work for her and her husband.
Anyways she kind of starts to remember, makes up with her husband Who does end of rescuing her. So there are my vague summaries of books i read at one type and can't remember. I've been looking for these forever it seems like cuz they were really good Help! Do you all know about Byron? The last one sounds a little like a Theresa Charles book which was published as both Dark Legacy and Happy now I go, neither of which touchstone. I love this book. I don't think it's that one since I remember it being more contemporary then that It was republished in the 80s, but it was very much set in WW2.
Although since it was written during WW2 orignally the "feel" is more contemporary. Sort of. But the French part is not it. A woman wakes up in the hospital in France after a car crash. She has amnesia and doesn't recognize the man who claims to be her husband. He lives in a castle with his mother and sister -- and they have a daughter she doesn't remember either. Eventually it turns out to be a case of mistaken identity. Too bad no one else recognizes my first one! It sounds interesting.
I just added it to the Romantic Times Book Sleuth discussion thread, though. Winnie, I don't see a post that you found your book 21 yet. Could it be Love's Charade by Jane Feather? Oh, this is so exciting! The book I'm looking for is a totally trashy romance my cousin and I read for the sex scenes when we were younger. It involved this guy who was a teacher or a professor and had bright red hair.
Anyway, he had sex with a bunch of girls, and they all came back to this reunion with batches of redhaired children It was cheesy, but I remember it so vividly and wish I could find it again! Anybody recognize it? No sorry. But welcome to the group superblondgirl! Jenson, According to the people on the Romantic Times Message Boards, my book 2 up there is Fantasy by Lori Foster , which they say was originally published as part of a series romance and then repubed after she got famous. I've got it bookmooched now, but I haven't received it yet, so I'll let you know when I get it in.
Ireland, I have Foster's Fantasy, but I didn't recognize it from the bits you remembered. Here's the blurb from the back cover: Security consultant Sebastian Sinclair agrees to be sold at a bachelor auction. Being bought is one thing, now he's about to be given away as a gift for some lucky birthday girl.
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But one look at Brandi Sommers and Sebastian can't wait to be unwrapped. Brandi really means it when she says "Oh, you shouldn't have" to her sister's outrageous birthday gift, a five-day dream vacation to a lovers' retreat. Lover included. What's she going to do in paradise with the sexy stranger Sebastrian Sinclair? Brandi soon discovers she can do whatever she wants.
I remember this one now. If you like Fantasy, and you haven't read the other Visitation books, you should. They are all fabulous! I hope someone can tell me what this book is. I read it years ago, from the library, and could never figure out what the book was after I sent it back. I don't know names either. All I remember was that the lady was going on vacation in either scotland or england. She was staying in a type of lodge or log cabin. There was something magical that appeared, some type of God or Faery. They fell in love.
It was forbidden for him to love someone, so he was sent back to no-where land before a council to get his fate judged. She went home and balled her eyes out. She told her sister or someone close to her about him, and the person was convinced that it was all a dream, that she had from the plot of a book she was reading. She convinced herself of that too. Then months later he moves in across the street from her, and thats the end of the book. I keep thinking that he begged the councel to send him back as a person so they could have a life together.
BUT I have a very active imagination, so I don't know if that was in there or if I just dreamed it up myself when the book was done with. Thanks :D. The Secret Life of Bryan was one of my faves of the visitation series. I'll have to check out fantasy, it sounds good. Ireland, it will be interesting to see if they got the right book. CrazyDaisyLou - It kind of sounds like a short story I read in Man of My Dreams which was an anthology except the ending it much, much different. In this short story the heroine is a librarian who discovers her former lover at a solstace celebration.
He left her because he had been taken by the fairies and was the consort of the fairy queen. It's probably not the same one but I thought I'd mention it. It does sound like a very good story, hope you figure out what it is.
There is a Johanna Lindsey with a plot like this. The heroine is named Rosalind or something like that and is a medieval history professor. She collects swords and bought one that was cursed and brought forth Thor, a Viking warrior. They fall in love and travel through time, and the only way to break the curse is if she voluntarily gives him the sword back, which she does to free him, but it send them back to their respective times.
Her brother and best friend both tell her she's been sick and it's been a dream or some such thing and at the end Thor does appear in her time as a modern man, having appealed to Odin in Valhalla to give him a second chance at life. I think it was called Until Forever or something like that. Her name is Roseleen, but other than that you are on the mark gracer. It is called Until Forever. I don't usually read contemporaries, but I remember reading one when I was younger that I would like to find again. It was written in the 80s and followed the romantic lives of music prodigies who meet at school as teenagers.
It followed them into adulthood and was an old school 80s epic. The main character is a virtuoso girl who is considerably younger than the others who has a serious case of unrequited love for the big man on campus. He de-flowers her an expression one never uses outside of a romance novel and then walks out on her. They wind up getting together years later and she of course has only ever had sex once with him as a teenager because who knows. They also have a male friend who is involved in some weird bi-threesome plot where he refers to some sex act as being as romantic as "changing a light bulb.
Thanks so much Gracer and LucyMaude. I hope this is it, it sounds like it is. I'm surprised I don't have it, considering I've collected 25 Johanna Lindsey novels so far. But I'm 25, and it's been at least 9 years since I read it, and I didn't even actually own any books back then. I am SO going out tomorrow to look for it.
Remember Me there are 3 of them. I am still looking for the book in message Here is the description from bn. Synopsis Eyes snapping emerald fire, Isabeau DeBurgh alias the Devil's Flame-sat motionless upon her fine black stallion. The most feared and notorious highwayman of them all was about to strike Publishers Weekly Readers who don't put a premium on originality may find this fast-paced tale of s England amusing, with its masterful hero and spunky heroine. Isabeau DeBurgh, a beautiful woman with a hot temper and a vocabulary to match, earns a living at what she does best--highway robbery.
But the night she tries to rob Lord Griffin Stone, an aristocratic black sheep just back from America, her luck runs out; he wounds her in a sword fight.
Griffin won't turn Isabeau over to the authorities who might hang her nor turn her loose to steal, so he decides to take her home, dress her up and teach her the finer points of etiquette. Meanwhile Isabeau develops a soft spot in her heart for Griffin, as he does for her. And why not? Compared to the rest of the crew, a mere thief looks pretty attractive. Winniekuhl, I think I have solved the mystery of I knew it sounded familiar, I just had a hard time coming up with the name. It is Birdie by Taylor Ryan. It is a Harlequin Historical published in Actually, a copy is being sold on ebay right now if you want to look at it.
I probably shouldn't be so confident. After all I could be wrong. But I hope I'm not. Let me know if I got it. Thanks megkrahl, I read the desciption and it is not it. Thanks for trying! Hi Winnie, i thought it might be The Rogue and the Hellion by Connie Mason as she is a highwayman, but found out to be a girl, he takes her back to teach her a lesson but she turns out to be a lady! But then i realised it wasn't published until , might have been re-released, but i thought it was worth a mention just incase Hope you find what yr looking for!
Her flirtatious sister, Daphne, is engaged to a man who will only inherit if he is married by a certain date. Daphne elopes, leaving behind a note and her wedding dress. Sophie shows up at the altar, but Alex, the bridegroom, recognizes her for who she is. They agree to marry to allow him to inherit and her to save face for her sister. It does sound familiar, but I am at a loss as well. The names of the sisters are different, but the plot sounds very similar. In the Bradley story, the sisters are twins.
Could be it. I found a description: Lovely Sophia Forest was a very intellectual young lady for the year in Regency England--quite different from her beautiful and flighty sister, Daphne. All London was agog when Sophia rather than Daphne wed the dashing Earl of Gresham, whose scorn for bookish females was well-known. The marriage was intended as a business arrangement only--to preserve the Earl's fortune and give Sophia financial independence.
But what was Sophia to do when she found herself enamoured of her husband, though too proud to admit it? Sophia needed all her wit and womanly wiles in a game of pretense and passion, to make the man she loved, love her. We'll see if it's the right one. It's original copyright date was Hello, I was wondering if anyone could help me find the names of two books I read some years ago.
I believe they were published around always before August I believe they are from British authors. They are both romances. One has a yellow cover with little cakes or cupcakes - I don't recall on them. She shares her house with some friends. The book is really funny. The other one has a light blue cover and I don't remember the story that well.
I do know that in the end, the guy gives the girl a unique rose that he himself well, his company I guess created by matching 2 types of roses. In this last one, I just remembered that in the beginning, the girl is trying some clothes in a shop and afraid of a bee runs topless through the shop and bumps into the guy.
Well, I know it's not much, but if anyone could help, I'd be very grateful. Thank you very much.
I love that you guys have this section. New here, so please bear with me. I also think she had a girlfriend who runs a local bookshop. I know it isn't much to go on, but every time I think I may be remembering more of the story I start to think I'm combining two stories into one. It's driving me batty. Nyah99 -- yellow cover with possible cupcakes reminds me of He Loves Lucy by Susan Donovan , but I'm not sure that's your book.
This one takes place in Miami? The heroine has a goal to lose weight for publicity with the hero being her trainer. Not one of the Bridgertons I'll dig around a bit and see if I can come up with a title. Thank you so much both of you. Thank you again. Thank you for your help. I've just found the name of the other book. First of all, its cover is not blue, but white. Aviddiva- Thanks. It could be Amanda Quick, though I still can't seem to place it. And it seems like she has several with trading places type themes.
I'll keep digging thru her stuff and see, though I appreciate you still looking as well.
The Duke's grandfather corresponds with the heroine and carries on the courtship. Grandpa dies and when grandson comes back from the war, he finds out he is engaged to her. Grandson goes to confront her, she thinks he is the new footman she has hired and the story then continues. It's pretty funny actually. Hope this helps. In that book, the hero is disguised as the heroine's butler. He is a spy and the powers that be believe that her deceased husband had something of importance he was a spy too.
There is also a Julia Quinn where the hero shows up and pretends to be her estate manager or something similar. She's the impoverished daughter of an earl or something similar who is working as a paid companion to a crotchety old lady who's nephew is a Marquis posing as her estate manager to get to the bottom of who is blackmailing her. Very funny and entertaining! Thanks guys. Oddly, I have missed all of those and will now be reading those to see if maybe I've just lost my entire peas sized brain and maybe DID actually read one of those. Hopefully it'll come to me soon as it's still tickling the back of my mind constantly.
Very sad I tell you. Thanks again! I'm pretty sure its a historical romance but all i remember is that the hero if the book is sold at an auction. He is bought by a woman for her daughter. I don't remember the name or the author of the book. I have a vague memory of one like that as well, but can't quite place it. I need some help with a book title too, It's a historical romance and the lady poses as a highwayman to take cre of the estate. The lady also posed as an ugly crone on the night their supposed meeting. Not quite sure this fits the bill but My Lady Notorius by Jo Beverley has a highwayman heroine with a cruel father and brother.
She is trying to protect her widowed sister and baby who the father is trying to marry off to some awful man. The book is part of the Malloren series and takes place in Georgian England. The one you describe sounds familiar too but so far it's escaping me! Hi everyone! As he spoke, he grasped more firmly the neck of Victoria, with one push he whirled her headlong down the dreadful abyss!
The devil is seen in Vathek as a preternaturally ugly old man with strange powers. James Hogg has rather a penchant for the demon, for he uses him in The Wool-Gatherer , and in Confessions of a Justified Sinner , which is a story of religious superstition, of the use of diablerie and witchcraft, introducing a satanic tempter. On the whole, the appearances of the devil in Gothic fiction lack impressiveness, are weak in psychologic subtlety, and have not the force either of the epic or of the dramatic representations.
Nor have they the human appeal that the incarnations of the devil in later fiction make to our sympathies. Supernaturalism in the horror novel is by no means confined to human beings, but extends to beasts as well. Animals are supposed to be peculiarly sensitive to ghostly impressions, more so than men, and the appearance of a specter is often first announced by the extreme terror of some household  pet, or other animal. Gothic dogs have very keen noses for ghosts and howl lugubriously when an apparition approaches.
Ravens are represented as showing the presence of evil powers, somewhat as the Southern darkey believes that the jay-bird is the ally of the devil and spends every Friday in torment. In this case the husband of a beautiful young woman is a werewolf who during his savage metamorphosis tears her to pieces then disappears to return no more.
Professor Kittridge has shown the frequency of the werewolf motif in medieval story, by the variants he brings together in his Arthur and Gorlogon. In The Albigenses a lycanthrope also is described, a hideous human being that fancies himself a mad wolf. In one,  Sandy is saved from going over a precipice by the warning of a hare that immediately after vanishes, having left no tracks in the snow.
In another,  the two white beagles that the king uses in hunting are in reality maidens bound by enchantment, who are forced to slay human beings then transform them into deer for the king and his company to eat. The other dogs are aware of the unnatural state of affairs, while the men are too stupid to realize it.
The clownish Croudy is changed into a hog, which brings amusing and almost tragic complications into his life. His old dog knows him and follows him pathetically, and a drove of cows go off in a stampede at his approach, for they, too, sense the  supernatural spell. Croudy is put on the block to be killed for pork, when the fairy changes him back suddenly to the consternation of the butcher.
But Croudy does not behave well after his transformation, so he is changed into a cat with endless life. He may resume mortal shape one night in the year and relate his feline experiences. In the same story the king of Scotland is proposing a toast when his favorite dog dashes the cup from his hand. This is repeated several times, till the king learns that the drink is poisoned, and the dog has thus by supernatural knowledge saved his life. An innocent young girl, sentenced to death for witchcraft because a fairy has taken her form and worked enchantment, and her lover are transformed into white birds that fly out of the prison the night before the execution and live eternally on the shores of a far lake.
The ghostly power extends to inanimate objects as well as to human beings and animals. Armor and costumes seem to have a material immortality of their own, for it is quite common to recognize spectral visitants by their garments or accouterments. Armor clanks audibly in the terror scenes. In The Castle of Otranto , the giant ghost sends his immense helmet crashing into the hall to shatter the would-be-bridegroom and the hopes of his father.
The head-gear has power of voluntary motion and moves around with agility, saves the heroine from danger by waving its plumes at the villain and generally adds excitement to the scenes. Later a titanic sword leaps into place of itself, after having been borne to the entrance by a hundred men fainting under the weight of it, while a statue of Alfonso sheds three drops of blood from its nose and a portrait turns round in its frame and strolls out into the open.
Pictures in general take a lively part in horrific fiction. The portrait of a murdered man in The Spirit of the Castle  picks itself up from the lumber heap where it has been thrown, cleans itself and hangs itself back on the wall, while  a portrait in a deserted chamber wags its head at a servant who is making the bed.
The portrait of Melmoth is endowed with supernatural power, for its eyes follow the beholder with awful meaning, and as the nephew in desperation tears it from its frame and burns it, the picture writhes in the flames, ironically, and mocks him. Gothic romance contains magic mirrors wherein one can see any person he wishes no matter how distant he may be, and watch his movements after the fashion of a private moving-picture show,—such as that used by Ambrosio. There are crystal balls that reveal not only what is going on in distant parts, but show the future as well. These will serve to illustrate the preternatural powers possessed by inanimate objects  in the terror literature.
In some instances the motif is used with effectiveness, definitely heightening the impression of the weird in a way that human supernaturalism could not accomplish. We do not see here the mechanistic supernaturalism, which is to become important in later tales, and the effects here are crude, yet of interest in themselves and as suggesting later uses of the idea. In Vathek , where we have a regular array of ghostliness, we see a magic potion that instantly cures any disease however deadly,—the progenitor of the modern patent medicine. There is an Indian magician who writes his messages on the high heavens themselves.
Vathek has an uncurbed curiosity that leads him into various experiments, to peer into the secrets of astrology, alchemy, sorcery, and kindred sciences. He uses a magic drink that gives the semblance of death, like that used later in The Monk , as earlier, of course, in Romeo and Juliet , and elsewhere. He tells of chemical experiments where he forces everyone to do his will or die.
By his potions he can change hate into love or love into hate, and can give a drug which produces semi-insanity. In Ankerwich Castle a woman lying at the point of death is miraculously cured by a drug whose prescription the author neglects to state. In the same story a child is branded in a peculiar fashion. A new-born babe whose birth must remain secret yet who must be recognizable in emergency, is marked on its side with letters burnt in with a strange chemical, which will remain invisible till rubbed with a certain liquid. Matilda in The Monk dabbles in satanic chemistry and compounds evil potions in her subterranean experiments.
Mary Shelley uses the idea of supernatural biology in her story of the man-monster, Frankenstein , the story of the young scientist who after morbid study and experiment, constructs a human frame of supernatural size and hideous grotesqueness and gives it life. But the thing created appalls its creator by its dreadful visage, its more than human size, its look of less than human intelligence, and the student flees in horror from the sight of it.
Shelley describes the emotions of the lonely, tragic thing thrust suddenly into a world that ever recoils shuddering from it. She reveals the slow hate distilled in its heart because of the harsh treatment it meets, till at last it takes diabolic revenge, not only on the man who has created it but on all held dear by him. The struggles that rend his soul between hate and remorse are impressive. The wretched being weeps in an agony of grief as it stands over the body of Frankenstein whom it has harried to death, then goes away to its own doom.
The last sight of it, as the first, is effective, as, in tragic solitude, towering on the ice-floe, it moves toward the desolate North to its death. In the characterization of this being, as in the unusual conception, Mrs. Shelley has introduced something  poignantly new in fiction. It was a startling theme for the mind of a young girl, as were Vathek and The Monk for youths of twenty years, and only the abnormal psychological conditions she went through could have produced it. The employment of the Frankenstein motif in a play produced recently in New York,  illustrates anew the vitality of the idea.
Leon , by William Godwin, relates the story of a man who knew how to produce unlimited gold by a secret formula given him by a mysterious stranger who dies in his home. Shelley  brings in this power incidentally with the gift of endless life. These may illustrate the use of science in Gothicism. The elixir of life is brewed in divers Gothic novels. Dramatic and intense as are the psychological experiences connected with the discovery of the magic potion, the effects of the success are more poignant still.
Leon is a story of the secret of perpetual life. The tiresome Godwinistic hero is visited  by a decrepit old man who wishes to tell him on a pledge of incommunicability what will give him the power of endless life and boundless wealth. The impoverished nobleman accepts with consequences less enjoyable than he has anticipated. Events are rather confused here, as the villain falls dead in the presence of the devil but comes to life again as another character later in the story,—Shelley informing us of their identity but not troubling to explain it.
The most impressive instance of the theme of fleshly immortality in the early novels is found in Melmoth. Here the mysterious wanderer possesses the power of endless life, but not the right to lay it down when existence becomes a burden. Melmoth can win the boon of death only if he can find another mortal willing to change destinies with him at the price of his soul. He traverses the world in his search and offers the exchange to persons in direst need and suffering the extreme torments, offering to give them wealth as well as life eternal.
Yet no man nor woman will buy life at the price of the soul. Certain themes appear recurringly as first aids to terror fiction. Some of them are found equally in later literature while others belong more particularly to the Gothic. An interesting aspect of the supernatural visitants is gigantism, or the superhuman size which they assume. In The Castle of Otranto , the sensational ghost is of enormous size, and his accouterments are colossal. In the last scene he is astounding:.
A clap of thunder shook the castle to its foundations; the earth rocked and the clank of more than mortal armor was heard behind The walls of the castle behind Manfred were thrown down with a mighty force, and the form of Alfonso, dilated to an immense magnitude, appeared in the center of the ruins. This reminds one of an incident in F. Isaacs , where the Indian magician expands to awful size, miraculously draws down a mist and wraps it round him as a cloak. In most cases gigantism connotes evil power and rouses a supernatural awe in the beholder.
The giant is an Oriental figure and appears in Vathek , along with genii, dwarfs, and kindred personages, but the Gothic giant has more diabolism than the mere Oriental original. He seems to fade out from fiction, appearing only occasionally in later stories, while he has practically no place in the drama, owing doubtless to the difficulties of stage presentation. Insanity as contributing to the effect of supernaturalism affords many gruesome studies in psychiatry. Madness seems a special curse of the gods or torment from the devil and various instances of its use occur in Gothic fiction.
When he awakes to the realization of what he has done, real madness drives him to suicide. In The Castle of Caithness the wicked misanthrope goes mad from remorse. He imagines that the different ones he has murdered are hurling him into the pit of hell, until, in a maniac frenzy, he dashes his brains out against the prison walls. Melmoth uses the idea with special effectiveness. Maturin also shows us a scene in a mad-house, where a sane man, Stanton, is confined, whom Melmoth visits to offer exchange of destinies. Melmoth taunts him cruelly with his hopeless situation and prophecies that he, too, will go mad from despair.
At her appalling shrieks all other voices are hushed. Another impressive figure in the mad-house is the preacher who thinks himself a demon and alternately prays and blasphemes the Lord. Charles Brockden Brown rivals Maturin in his terrible use of insanity for supernatural effect. The demented  murderer in Edgar Huntley gives an impression of mystery and awe that is unusual, while Wieland with its religious mania produced by diabolic ventriloquism is even more impressive.
Brown knew the effect of mystery and dread on the human mind and by slow, cumulative suggestion he makes us feel a creeping awe that the unwieldy machinery of pure Gothicism never could achieve. In studies of the morbid mentality he has few equals. What are the rackings of monkish vindictiveness when set against the agonies of an unbalanced mind turned in upon itself? Such a tragedy of dethroned reason is intolerably powerful; the dark labyrinths of insanity, the gloom-haunted passages of the human mind, are more terrible to traverse than the midnight windings of Gothic dungeons.
We feel that here is a man who is real, who is human, and suffering the extremity of anguish. Perhaps the most hideous aspect of insanity in the terror novel is that of the lycanthrope in The Albigenses. The tragic wolf-man imagines himself to be a mad wolf and cowers in his lair, glaring with gleaming, awful eyes at all who approach him, gnawing at a human head snatched from the graveyard.
There are various other uses of insanity in the novel of the period, but these will serve to illustrate. The relation between insanity and the supernatural has been marked in later literature. The use of portents is a distinct characteristic of the horror romance. Calamity is generally preceded by some  sign of the supernatural influence at work, some presentment of dread. Crime and catastrophe are forefelt by premonition of woe and accompaniment of horror. These phenomena are miraculous; when the common laws of nature are violated, the awful portents are not sent in vain.
This night an awful messenger sent from that dread tribunal from whose power there is no appeal, by signs terrific foretold my fate approached—foretold my final moment. She keeps her appointment promptly. In The Spirit of the Castle ,  the ghost of the old marquis knocks three times on the door preceding the arrival of the heir, and a black raven flies away as he enters.
If these omens be from heaven or hell, Manfred trusts to righteousness to protect his cause. There is much use of portent in Melmoth. Mysterious strains of music sound as heralds of disaster in several Gothic novels, as  where the inexplicable strains are heard only by the bride and groom preceding the strange tragedy that befalls them. At the approach of a supernatural visitant in the terror novel the fire always burns blue,—where there is a fire, and the great hearth usually affords ample opportunity for such portentous blaze.
The thermometer itself tends to take a downward path when a ghost draws near. Various other portents of ill appear in Gothic fiction. The symbols of dread and the ghostly are used to good effect in the terror romance. The cumulative effects of supernatural awe are carefully built up by the use of gruesome accompaniments and suggestions. The triple veil of night, desolation, and silence usually hangs over the haunter and the haunted, predisposing to an uncanny psychosis.
The Gothic ghost does not love the garish day, and the terror castle, gloomy even under the brightest sun, is of unimaginable darkness at night. Certain houses add especially to the impression of fear. In addition to its services as time-keeper, the bell has a predisposition to toll. Melancholy birds fly freely through these medieval tales, their dark wings adding to the general gloom. In St. Oswyth as the wicked baron lies quaking in remorse for having caused a nun to be buried alive, the condemning cry of the doleful birds increases his mental anguish. Similar instances, with or without special nomenclature, occur in countless Gothic novels.
Much use is also made of the dark ivy in its clambering over medieval architecture, shutting out the light and adding to the general gloom. The effect of horror is increased frequently by the location of the scenes in vaults and graveyards with all their gruesome accessories, and skulls are used as mural ornaments elsewhere, or as library appointments by persons of morbid temperament.
Enough skeletons are exhumed to furnish as large a pile of bones as may be seen in certain antique churches in Italy and Mexico. The element of mystery and mystification is another family feature of the novel of suspense. There is no proper thrill without the suspense attained by supernatural mystery. Even the novels that in the end carefully explain away all the ghostly phenomena on a natural basis strive with care to build up plots which shall contain astounding discoveries.
Radcliffe and Regina Maria Roche are noted in this respect. They have not the courage of their ghosts as such but, after they have thrilled the reader to the desired extent, they tear down the fabric of mystification that they have constructed and meticulously explain everything. The black veil constitutes a favorite method of suspense with Mrs. On various occasions Emily pales  and quivers before a dark velvet pall uncannily swaying in the midnight wind, and on one such ramble she draws aside the curtain and finds a hideous corpse, putrid and dropping to decay, lying on a couch behind the pall.
Many chapters further on she learns that this is a wax figure made to serve as penance for an ancient sinner. Again she shivers in front of the inky curtain, watching its fold move unaccountably, when a repulsive face peers out at her. She shrieks and flees, thinking she has seen a ghost, but discovers later that it is only one of a company of bandits that have taken up their secret abode in the house.
Black veils are in fashion in all of Mrs. Mysterious manuscripts are another means of mystification. Mysterious manuscripts are not strong on grammar and make slight attempt to avoid mixed figures. I will expire by the side of the clay-cold corpse of my Antoinette. Reference to dread secrets occur otherwise than in written form. You would be ready to forego the ties of nature and shun society. Time must, it will develop the whole of this mystery!
Inexplicable music forms one of the commonest elements of mystification in these romances. Its constant recurrence suggests that there must have been victrolas in medieval times. The music is chiefly instrumental, sometimes on a harp, sometimes on a violin, though occasionally it is vocal. The appearance of the devil masquerading as the Moor  is heralded by flute-like sounds, and in The Spirit of Turrettville the specter plays on the harp and sings. The recurrence of the theme is so constant that it acquires the monotony of a tantalizing refrain. Groans and wails of unexplained origin also aid in building  up suspense.
In fact, a chorus of lugubriousness arises so that the Gothic pages groan as they are turned. Mysterious disappearances likewise increase the tension. Lights appear and vanish with alarming volition, doors open and close with no visible human assistance, and various other supernatural phenomena aid in Gothic mystery and mystification. Although the ghosts and devils occupy the center of interest in the horrific romance, the human characters must not be lightly passed over. There are terror temperaments as well as Gothic castles, tempests, and scenes.
The interfering father or other relative, brutal in threats and breathing forth slaughter, comes in frequently to oppress the hero or heroine into a loathed marriage. The hero is of Radcliffian gloom, a person of vague past and saturnine temper, admired and imitated by Byron. There are no restful human shades of gray, only unrelieved black and white characters.
The Romantic heroine is a peculiar creature, much given to swooning and weeping, yet always impeccably clad in no matter what nocturnal emergency she is surprised. She tumbles into verse and sketching on slight provocation, but her worst vice is that of curiosity. In her search for supernatural horrors she wanders at midnight through apartments where she does not belong, breaks open boxes, desks, and secret hiding-places to read whatever letters or manuscripts she can lay her hands on, behaving generally like the yellow journalist of fiction.
The pages of the Gothic novel are smeared with gore  and turn with ghostly flutter. The conversation is like nothing on land or sea or in the waters under the earth, for the tadpoles talk like Johnsonian whales and the reader grows restless under Godwinistic disquisitions. The authors are almost totally lacking in a sense of humor, yet the Gothic novel, taken as a whole, is one of the best specimens of unconscious humor known to English literature.
Though written as her first novel and sold in , it did not appear till after her death, in Its purpose is to ridicule the Romanticists and the book in itself would justify the terroristic school, but she was ahead of her times, so the editor feared to publish it. In the meantime she wrote her other satires on society and won immortality for her work which might never have been begun save for her satiety of medieval romances. The title of the story itself is imitative, and the well-known materials are all present, yet how differently employed!
The setting is a Gothic abbey tempered to modern comfort; the interfering father is not vicious, merely ill-natured; the pursuing, repulsive lover is not a villain, only a silly bore. The heroine has no beauty, nor does she topple into sonnets nor snatch a pencil to sketch the scene, for we are told that she has no accomplishments. Yet she goes through palpitating adventures mostly modelled on Mrs. She is hampered in not being supplied with a lover who is the unrecognized heir to vast estates, since all the young men in the county are properly provided with parents.
The delicious persiflage in which Jane Austen hits off the fiction of the day may be illustrated by a bit of conversation between two young girls. Have you gone on with Udolpho? How delightful! Oh, I would not tell you what is behind that black veil for the world! Are you not wild to know? What can it be? But do not tell me—I would not be told on any account.
Oh, I am delighted with the book! I should like to spend my whole life reading it, I assure you. If it had not been to meet you, I would not have come away from it for the world. How much obliged I am to you; and when you have finished Udolpho , we will read The Italian together; and I have made out a list of ten or twelve more of the same kind for you.
These will last us some time. George Saintsbury  expresses himself as sceptical of this list as a catalogue of actual romances, stating that he has never read one of them and should like some other authority than Miss Andrews for their existence. He is mistaken in his doubt, however, since during the progress of this investigation four out of the eight have been identified as to authorship, and doubtless the others are lurking  in some antique library. But the real cleverness of the work consists in the burlesque of Gothic experiences that Catherine, because of the excited condition of her mind induced by excess of romantic fiction, goes through with on her visit to Northanger Abbey.
She explores secret wings in a search for horrors, only to find sunny rooms, with no imprisoned wife, not a single maniac, and never skeleton of tortured nun. Opening a black chest at midnight, she finds a yellowed manuscript, but just as she is about to read it her candle flickers out. In the morning sunshine she finds that it is an old laundry list. The only result of her suspicious explorings is that she is caught in such prowlings by the young man whose esteem she wishes to win.
He sarcastically assures her that his father is not a wife-murderer, that his mother is not immured in a dungeon, but died of a bilious attack.
The Gothic novel will be remembered, if for nothing else, for her parody of it. But Miss Austen is not the only satirist of the genre. Know that the moment that a mortal manuscript is written in a legible hand and the word End or Finis attached thereto, whatever characters happen to be sketched therein acquire the quality of creating a soul or spirit which takes flight and ascends immediately through the regions of the air till it arrives at the moon, where it is embodied and becomes a living creature, the precise counterpart of the literary prototype.
Know farther that all the towns, villages, rivers, hills, and valleys of the moon also owe their origin to the descriptions which writers give of the landscapes of the earth. By means of a book, The Heroine , I became a living inhabitant of the moon. I met with the Radclyffian and Rochian heroines, and others, but they tossed their heads and told me pertly that I was a slur on the sisterhood, and some went so far as to say that I had a design on their lives. Cherry, an unsophisticated country girl, becomes Cherubina after reading romantic tales.
There is much discussion of the Gothic heroine, particularly those from Mrs. The girl  sprinkles her letters with verse. She passes through storms, explores deserted houses, and comes to what she thinks is her ancestral castle in London, but is told that it is Covent Garden Theatre. She pokes around in the cellar to find her captive mother, and discovers an enormously fat woman playing with frogs, who drunkenly insists that she is her mother. She has the fat farmer shut up in the madhouse. The book is very amusing, and a more pronounced parody on Gothicism than Northanger Abbey because the whole story turns round that theme,—but, of course, it is not of so great literary value.
It seems strange, however, that it is so little known. It burlesques every feature of terror fiction, the high-flown language, the excited oaths, the feudal furniture, the medieval architecture, the Gothic weather, the supernatural tempers, the spectral apparitions—one of which is so muscular that he struggles with the heroine as she locks him in a closet, after throwing rapee into his face, which makes him sputter in a mortal fashion.
Cherubina finds a blade bone of mutton in some Gothic garbage and takes it for a bone of an ancestor. Radcliffian adjectives reel across the pages and the whole plays up in a delightful parody the ludicrous weaknesses and excesses of the terror fiction. In general, Gothicism had a tonic effect on English literature, and influenced the continental fiction to no small degree.
By giving an interest and excitement gained from ghostly themes to fiction, the terror writers  made romance popular as it had never been before and immensely extended the range of its readers. The novel has never lost the hold on popular fancy that the Gothic ghost gave to it. This interest has increased through the various aspects of Romanticism since then and in every period has found some form of supernaturalism on which to feed. True, the machinery of Gothicism creaks audibly at times, some of the specters move too mechanically, and there is a general air of unreality that detracts from the effect.
The supernaturalism often lacks the naturalness which is necessary. Yet it is not fair to apply to these early efforts the same standards by which we judge the novels of to-day. While their range is narrow they do achieve certain impressive effects. Though the class became conventionalized to an absurd degree and the later examples are laughable, while a host of imitations made the type ridiculous, the Gothic novel has an undeniable force. Besides the bringing of supernaturalism definitely into fiction, which is a distinct gain, we find other benefits as well.
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In Gothicism, if we examine closely, we find the beginnings of many forms of supernaturalism that are crude here, but that are to develop into special power in later novels and short stories. The terror novel excites our ridicule in some respects, yet, like other things that arouse a certain measure of laughter, it has great value. Moreau, or the operations described by Arthur Machen whereby human beings lose their souls and become diabolized, given over utterly to unspeakable evil.
The  psychic elements in Zofloya are crudely conceived, yet suggestive of the psychic horrors of the work of Blackwood, Barry Pain, and Theodore Dreiser, for example. The animal supernaturalism only lightly touched on in Gothic novels is to be elaborated in the stories of ghostly beasts like those by Edith Wharton, Kipling, Ambrose Bierce, and others.
In fact, the greater number of the forms of the supernatural found in later fiction and the drama are discoverable, in germ at least, in Gothic romance. The work of this period gave a tremendous impetus to the uncanny elements of romanticism and the effect has been seen in the fiction and drama and poetry since that time. It would be impossible to understand or appreciate the supernatural in the nineteenth-century literature and that of our own day without a knowledge of the Gothic to which most of it goes back.
Like most beginnings, Gothicism is crude in its earlier forms, and conventional in the flood of imitations that followed the successful attempts. But it is really vital and most of the ghostly fiction since that time has lineally descended from it rather than from the supernaturalism of the epic or of the drama. The Gothic period marked a change in the vehicle of supernaturalism. In ancient times the ghostly had been expressed in the epic or the drama, in medievalism in the romances, metrical and prose, as in Elizabethan literature the drama was the specific form.
But Gothicism brought it over frankly into the novel, which was a new thing. That is noteworthy, since supernaturalism seems more closely related to poetry than to prose; and as the early dramas were for the most part poetic, it did not require such a stretch of the imagination to give credence to the unearthly.
The ballad, the epic, the drama, had made the ghostly seem credible. But prose fiction is so much more materialistic that at first thought supernaturalism seems antagonistic to it. That this is not really the case is evidenced from the fact that fiction since the terror times has retained the elements of awe then introduced, has developed, and has greatly added to them. With the dying out of the genre definitely known as the Gothic novel and the turning of Romanticism into various new channels, we might expect to see the disappearance of the ghostly element, since it had been overworked in terrorism.
It is true that the prevailing type of fiction for the succeeding period was realism, but with a large admixture of the supernormal or supernatural. The supernatural  machinery had become so well established in prose fiction that even realists were moved by it, some using the motifs with bantering apology—even Dickens and Thackeray, some with rationalistic explanation, but practically all using it.
Man must and will have the supernatural in his fiction. The very elements that one might suppose would counteract it,—modern thought, invention, science,—serve as feeders to its force. In the inexplicable alchemy of literature almost everything turns to the unearthly in some form or other. We have seen the various sources from which the Gothic novel drew its plots, its motifs for ghostly effect.
The supernatural fiction following it still had the same sources on which to draw, and in addition had various other influences and veins of literary inspiration not open to Gothicism. Modern science, with the new miracles of its laboratories, proved suggestive of countless plots; the new study of folk-lore and the scholarly investigations in that field unearthed an unguessed wealth of supernatural material; Psychical Research societies with their patient and sympathetic records of the forces of the unseen; modern Spiritualism with its attempts to link this world to the next; the wizardry of dreams studied scientifically,—all suggested new themes, novel complications, hitherto unknown elements continuing the supernatural in fiction.
With the extension of general reading, and the greater range of translations from other languages, the writers of England and America were affected by new influences with respect to their use of the supernatural. Their work became less insular, wider in its range of subject-matter and of technical methods, and in our fiction we find the effect of certain definite outside forces.
The overlapping influences of the Romantic movement in England and America, France and Germany, form an interesting but intricate study. It is difficult to point out  marked points of contact, though the general effect may be evident, for literary influences are usually very elusive. And even so, that would not explain literature. Poe wrote an elaborate essay to analyze his processes of composition for The Raven , but the poem remains as enigmatic as ever. As German Romanticism had been considerably affected by the Gothic novel in England, it in turn showed an influence on later English and American ghostly fiction.
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Scott was much interested in the German literature treating of evil magic, apparitions, castles in ruins, and so forth, and one critic says of him that his dealings with subjects of this kind are midway between Meinhold and Tieck. De Quincey likewise was a student of German literature, though he was not so accurate in his scholarship as Scott. Hi, my name is Maxine Mansfield and I write fantasy, erotic romances. I live in the far northern state of Alaska where the summer days are long and the winter nights even longer. I have one very special man, his three equally special children, and our six delightful grandchildren in my life.
Not to mention a very bossy African Grey parrot named Gabriel. A power-mad CEO and an enterprising Appalachian terrorist will do their best to destroy him, but with luck, the kindness of strangers, and the loyalty of what friends he has left, Jase Logan might blunder his way into making the world a better place. He looked around again, absently noticing his kidnappers were still in the room. He recognized the driver from his thin, wiry frame and ratty suit, as well as the cruel gleam in his eyes. The man Jase identified as the one who had been sitting with him in the back seat was much larger.
He was broad across his shoulders, with thick, meaty arms, and doughy about the middle. Gunnar McReady, on the other hand, was tall and lean, without an ounce of body mass wasted on fat. He kept his graying hair cut short, and was clean-shaven. Chris Wichtendahl lives in New Jersey with his family and an unseemly number of cats. He is the author of Doris Daring: Star Captain of the Spaceways, the Amorlia trilogy, the Jax Edison trilogy, a short story collection, and various comics.
Website l Twitter. Thanks for doing an interview! Could you tell our readers a little bit about your writing journey? Thanks for having me! I still bounce back and forth from comics to novels to short stories. How many books do you currently have published? Including comics and short story collections, What has been your favorite book to write so far?
I wrote most of my books in a serialized format online, with little drafting and more editing. Are you currently working on a book? Will this be your next release? What do you enjoy most about writing? All of it. I love worldbuilding, character development, drafting, revising… All of it. If so, how do you deal with it? All the time. My last trilogy became a whole other thing from how it started. Which of your characters is your personal favorite? Least favorite? What if they find out? So far, what has been your favorite scene to write? The climaxes of the Jax Edison books have been my favorites to write so far.
What lessons have you learned since becoming a writer? Do you have any tips for new writers? Too many lessons to relate here, and tips feel presumptuous. If you were to recommend your books to a stranger, which book would you advise them to start with? It depends. So it honestly depends on the person. But hey, why not check out The Windfarmer? When the police stumbled from their cars, dazed but unhurt, they saw Anne Arden standing in the middle of the street, her left hand extended and a subtle glow around her right. She had shed her long coat, revealing the woven steel fibers of her Techno-Vest, energy crackling around the crystalline tubes embedded in it.
What are some of your favorite books to read? What about television shows? Is there a book that you have read that you feel has made a big impact on your life? The Mists of Avalon was a huge influence on me as a storyteller, but more importantly, it helped me discover and define my spirituality at a time in my life when I was searching. Can readers find you at any live events, such as book signings or conventions?
If you had to sum up your life as a writer in ten words, what would you say? It seemed like a good idea at the time. In a run-down bar in the heart of Denver sits a broken-hearted woman whose sabotaging actions have left her with lots of questions and no one to turn to for answers — until an irritating, snarky, and equally broken-hearted man attempts to befriend her. Despite his blunt and overbearing demeanor, he appears to know exactly what her heart needs.
P j Haynie has been writing poetry, short stories, and music compositions for 20 years.
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P j is an avid rock climber, kick boxer, and marketing maven who lives with her husband, two children, and two dogs in Denver, CO. I bring it. I own that shit. Then I walk away and leave you to clean up the mess. For me, there is no other way. This is who I am. With all of this world comes death.