By Nicole Jordan
The daring video games of ardour play out with scrumptious effects during this fourth novel of Nicole Jordan's seductive new sequence, The Courtship Wars.
years in the past, vigorous good looks Eleanor Pierce spied her rushing betrothed, Damon Stafford, Viscount Wrexham, along with his former mistress and furiously ended their engagement. Now the fascinating rake is again in London, meddling in Eleanor's affairs, bent on thwarting her new suitor. And while Damon's intoxicating kisses re-ignite her private longing, Eleanor loses her heart... back. yet as she has no purpose of permitting background to copy itself, she embarks on a plan of tantalizing seduction, vowing to tame the rogue ahead of she surrenders to his depraved, willful desires....
decided to prevent one other guy from wooing and profitable the lady he loves, Damon understands that claiming Eleanor's center is all that concerns. yet this scandalously daring good looks potential to overcome him at his personal video game of romance - a video game he's prepared and prepared to lose.
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Extra info for To Romance A Charming Rogue (The Courtship Wars, Book 4)
Yet the narrator rarely tires of pointing up the mediocrity of The Earth, in spite of the Dante legacy suggested in Daneri’s name. The second model, covertly present, is Dante’s epic, especially the Paradiso. The Dante parodies, allusions, and parallels in the story continually bring the authorial reader back to Dante’s own poetics of total vision as set forth in the Paradiso. Drawing on Borges’s comments as well as his practice, one can infer three aspects of the Commedia that make it for Borges the paradigmatic long poem: it encompasses the medieval cosmos in a total vision ; it exploits the method of signiﬁcant omission to give the impression that it is neither incomplete nor redundant ; and, also by this method, it enforces the illusion of its own unity and thereby the transcendental unity of all things .
220. ———, ‘‘Commentaries,’’ in The Aleph and Other Stories 1933–1969, E. P. Dutton, 1978, p. 263. ———, ‘‘The Fearful Sphere of Pascal,’’ in Labyrinths, edited by Donald A. Yates and James E. Irby, New Directions, 1964, p. 191. ———, ‘‘Kafka and His Precursors,’’ in Labyrinths, edited by Donald A. Yates and James E. Irby, New Directions, 1964, p. 201. ———, ‘‘The Witness,’’ in Labyrinths, edited by Donald A. Yates and James E. Irby, New Directions, 1964, p. 243. Christ, Ronald, The Narrow Act: Borges’s Art of Allusion, New York University Press, 1969, pp.
Yet some of the most beautiful Arabic poetry is written by Suﬁs, probably because of their effort to ﬁnd the words most apt to describe the ineffable. Borges, again, is aware of this: How, then, can I translate into words the limitless Aleph, which my ﬂoundering mind can scarcely encompass? Mystics, faced with the same problem, fall back on symbols . . Perhaps the Gods might grant me a similar metaphor, but then this account would become contaminated by literature, with ﬁction. ’’ One is tempted to venture a bold and ambitious suggestion.