

FICTION · LARGE TYPE
Iris Johansen
Also known as: Qiong sen, Yue han sen
Iris Johansen was born on April 7, 1938. She worked for a major airline for many years and traveled extensively. After her two children, Tamara and Roy, left home for High School, she decided to devote her newfound free time to writing. Since she loved reading romance novels, she penned a love story, and found to her surprise that "I was just as voracious a writer as I was a reader." During the 1980's, her name was emblazoned on dozens of slender volumes featuring spirited adventuresses, passionate mystery men and smoldering love scenes. These days, Iris is one of a posse of former romance writers dominating the New York Times bestseller lists: Jayne Ann Krentz, Nora Roberts, Linda Howard, Tami Hoag, Sandra Brown and Tess Gerritsen all came up through the category-romance ranks. Iris Johansen's writing hobby became a career after she sent her first romance novel in to Bantam Love swept. Early on in her career, she developed the habit of following characters from book to book, sometimes introducing minor characters in one novel who then become major figures in another. She developed families, relationships and even fictional countries in her romance novels, which "stretched the boundaries of the standard formulas, "according to Barbara E. Kemp in Twentieth-Century Romance and Historical Writers. In 1991, she broke out of category romance (a term for short books written to conform to the length, style and subject matter guidelines for a publisher's series) with The Wind Dancer, a romantic-suspense novel set in16th-century Italy. She followed it with two sequels, Storm Winds and Reap the Wind, to form a trilogy, then wrote several more stand-alone romance novels before The Ugly Duckling was published in 1996. The Ugly Ducklingwas her first book to be released in hardcover, and the first to significantly broaden her readership beyond her romance fan base. Since then, her plots have gotten tighter and more suspense-driven; critics have praised her "flesh-and-blood characters, crackling dialogue and lean, suspenseful plotting" (Publishers Weekly). Some of her most popular books feature forensic sculptor Eve Duncan, who first appeared in The Face of Deception in 1998. But she seems equally comfortable with male protagonists, and her books have crossed the gender division that often characterizes popular fiction. Indeed, Publishers Weekly called The Search "that rarity: a woman's novel for men." Now, Iris Johansen is a bestselling writer, who has more than twenty million copies of her books in print and has won many awards for her achievements inwriting. "My writing schedule is very disciplined. I try to be up in my office by nine every morning and I work until I've completed at least ten pages. Sometimes that takes four or five hours, sometimes ten or twelve. It depends on the flow, the research, and the pace at which the characters are moving the story. There are times when the story is streaking like a bullet. Then I just hang on and stay with it. I do have a research assistant, my daughter, Tamara. I wouldn't know what to do without her. She's invaluable in finding out both the small details and the big picture, though I do make her want to pull her hair out in frustration sometimes when I ask her if there isn't a way we can make a certain plot point happen. But then she starts to dig and quite often comes up with a way that can be truthful and factual and still keep my story humming." Iris lives near Atlanta, Georgia, where she is currently at work on a new novel, while her daughter, Tamara Brooking, serves as her research assistant. Her son, Roy Johansen, is an Edgar Award-winning screenwriter and novelist, and they have collaborated in some projects.
The jeweled eyes of the Wind Dancer, secret, enigmatic, inhumanly patient, gazed out of the black and white photograph at Alex Karazov.
— from Reap the wind
Most acclaimed

Long after midnight
Two drifters caught in the backwash of space wander from city to dead city, sifting the rubble for the fabled Blue Bottle of Mars—and find in it two different, equally entrancing, dooms... A young boy in Green Town, Illinois, does not marry—yet marries—his beloved eighth-grade teacher... In the hell of a Manhattan July night, Will Morgan is offered a possibly Mephistophelean proposal by which he might gain a perfect love and a magical immunity... A jealous husband who orders an exact replica of his unfaithful wife from an android manufacturing company (purpose: murder) runs afoul of the compassionate new "live robot" law... At forty-eight, seized with an overwhelming desire to settle an old score, a man journeys back into the past under the spell of his "utterly perfect, incredibly delightful idea," only to recoil in stunned disbelief when he confronts, at last, his former tormentor... Bradbury's imaginative field is boundless. In this book, his stories carry us from the cozy familiarity of the small-town America we lived in in Dandelion Wine to the frozen desert and double moon that have been part of our interior landscape since The Martian Chronicles. His characters range from the "ordinary"—a rookie cop, an unhappy wife on vacation in Mexico, an old parish priest hearing confession—to the quite extraordinary: the parrot to whom Ernest Hemingway confided the plot of his last, greatest, never-put-down-on-paper novel, and a woman who, in New York City in the summer of 1974, hangs out a sign reading "Melissa Toad, Witch." Fantastic or conventional, chillingly suspenseful or hauntingly nostalgic, each of these stories has that aura of the unexpected combined with the special ring of absolute rightness that is brilliantly, uniquely Bradbury.

Tender savage
TOO FAST TO STOP When innocent Erica Hansen fled to Minnesota to escape the Civil War's horrors, she had no idea she was stepping right into the middle of an Indian uprising. And until a painted, whooping brave swept her onto his stallion, she never guessed how unsafe her new home really was. The curvaceous blonde struggled against her captor's grip, but the farther they rode from civilization, the wilder her response to him became. The passionate beauty knew she should bite, scratch and kick the warrior, but before she could think of the consequences, Erica began to caress, kiss and embrace him! TOO FAR TO RETURN From the moment he beheld the golden-haired paleface, the Sioux fighter named Viper swore she'd never meet the white captives' fate of torture and degradation. This was a woman created for the most ecstatic kinds of lovemaking ... and the virile male would make sure he'd be the one to show her the myriad ways to enjoy pleasure. He promised himself he'd release her when the furor of the battle died down. But once the jet-haired Sioux trapped her in his arms, he realized a lifetime was too short to savor her ivory skin, to exult in her lavender scent, to take her time and again as her Tender Savage.

Midnight warrior
Raised to an independent womanhood by her mother, the healer Brynn of Falkhaar is now enslaved to the devious Saxon, Richard of Redfern. Hoping to better his position, Richard offers her services to one of the victorious Normans at Hastings. Under the watchful eye of Gage Dumont, an extremely tall, extremely wealthy and, yes, extremely handsome Norman warrior who is also the bastard son of the king of Norway, Brynn manages the miraculous cure of his great friend, the Saracen Malik--thereby winning Malik's devotion and the warm attentions of Gage as well. Alternately rebuffing and acquiescing to his advances, Brynn uses Gage's passions to protect those she loves from Richard's continued evil-doing and to wrangle a one-way ticket to Gwynthal, the island setting of idyllic childhood memories and the location of an immense hidden treasure that is her birthright. Although Brynn and Gage are appealing enough, they are far less real and engaging than Malik, the entirely too charming, warmhearted heathen, and Adwen, Richard's quondam submissive wife determined to never again be any man's fool. Brynn is the weakness: sanctimonious about her role as healer, she is also the anchor for a rather far-fetched fantasy element.