Kim Wilkins

The rules for a young English woman in 1799 are simple: Do what you're told; stay out of the way; and don't, under any circumstances, ask questions. But Constance Blackchurch is insatiable, headstrong, and complex; and the quest to find her missing mother is too much to resist… …as is Alexandre Sans-Nom, the pearl diver who steals her heart, uproots all of her social expectations, and can either ruin or save the family she loves.

Asa and Rollo, acting on information they received from Ragni, the sorcerer, sail their invisible ship to Emperor Flood's stronghold, Castle Crag, to find out once and for all whether their parents are alive.

When Asa and Rollo discover that Ragni, a sorcerer who has been chained to a rock by the evil Emperor Flood may know the fate of their parents, they set off in their invisible boat to find him.

When underwater pirates steal Asa's Moonstone Star, she and her brother Rollo search for it across their vast, flooded kingdom, and along the way face ghosts, sea giants, and secrets about their own past.

In this first volume of Wilkins' Europa Suite, a woman's world is turned upside down when her childhood friend, abducted as a young girl into a place of magic and myth, rerturns. But now jealousies and betrayals threaten to destroy them both.

"Since the late 1990s a new language has emerged in film scholarship and criticism in response to the popularity of American directors such as Wes Anderson, Charlie Kaufman, and David O. Russell. Increasingly, adjectives like 'quirky', 'cute', and 'smart' are used to describe these American films, with a focus on their ironic (and sometimes deliberately comical) stories, character situations and tones. Kim Wilkins argues that, beyond the seemingly superficial descriptions, 'American eccentric cinema' presents a formal and thematic eccentricity that is distinct to the American context. She distinguishes these films from mainstream Hollywood cinema as they exhibit irregularities in characterization, tone, and setting, and deviate from established generic conventions. Each chapter builds a case for this position through detailed film analyses and comparisons to earlier American traditions, such as the New Hollywood cinema of the 1960s and 1970s. American Eccentric Cinema promises to challenge the notion of irony in American contemporary cinema, and questions the relationship of irony to a complex national and individual identity"--Bloomsbury Publishing.

While visiting his grandmother on Cape Cod, nine-year-old Thomas encounters a ship's cabin boy from centuries past.

When an ancient golden bear is found walled up in a dilapidated St Petersburg bathhouse, researcher Daniel St Clare and his frosty collegue Em Hayward set out for Arkhanelsk to verify its age. But in the deep of night they are mysteriously set adrift. Lost and exhausted, they turn north, sinking ever deeper into the secrets and terrors of the Russian landscape. Daniel's lost love, the wild and beautiful Rosa Kovalenka, knows the only way to save him is to outwit the haunted Chenchikov family. But their home, deep in unknowable, impenetrable forests, is a shadowy tangle of grief, desire and treachery. Only Papa Grigory, full of tales and riddles of times past, seems to have the knowledge they need ... But will he destroy them all in order for his world to survive?

"When the statue of a golden bear is found walled up in a dilapidated St. Petersburg bathhouse owned by her family, Rosa Kovalenka knows in her heart that this is no trick of fate. Her uncle thinks of treasure, but Rosa fears the bear is much more. She pleads with her old friend and lover, researcher Daniel St. Clare, to help identify the relic and perhaps take the bear far away from those she loved. St. Clare agrees and sets out for the university in Arkangelsk with the bear to verify its age. But along the way his journey is mysteriously set adrift: Maps are suddenly useless, cars and cell phones inexplicably stop working, and, lost and exhausted, he stumbles, sinking even deeper into the secrets and terrors of the Russian landscape."--dust cover flap.

503 p. ; 18 cm

He thought he'd never find heaven again . . . until he met her.Matthew Gallow is a fallen angel, cast out of heaven for daring to disbelieve. Furious, frustrated, and empty, he roams the earth, pretending to cast out demons and preserve souls. He doesn't have faith in anything — or anyone — until the night he nearly dies fighting a true fiend. His whole world is shaken. And when he meets Natalia, he isn't sure if he can trust her...or the attraction he feels for her.Natalia works for Cain, a rocker living on the edge, and she invites Matthew to be a part of his wild stage show. It's perfect — an exorcism for a man who says he's sold his soul to the devil. Only Cain really is in league with Lucifer, and all mankind is at risk. Matthew never before cared whether or not the world went to hell. But as his passion for Natalia grows, he'll fight to the death to rescue her from evil's grasp...and realize that love is the one thing that can save a fallen angel.