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William Barlow's life has been forever altered: his estranged father is dead, and William has inherited the title of Viscount Farleigh. Along with the title comes a neglected estate, an enormous amount of gambling debt, and one astounding acquisition that will turn William's world upside down . . . It is her first London Season, and Lady Louisa Hargreaves could not be more pleased. She has attracted the attention of the Earl of Kerridge, and the two are on the cusp of an official betrothal. That is, until she learns of a generations-old family debt: her grandfather gambled her hand in marriage and lost, and now Louisa must pay the price. She will marry not the earl but a man she just met, who has taken her freedom in one fell swoop. Even as she struggles to understand the handsome and aloof man she is to wed, Louisa is irresistibly drawn to him—and he to her. But she soon realizes he is harboring secrets, and as her wedding day approaches, she must discover what her future husband is hiding before she makes the gravest mistake of her life.

"Is grammar syntax? // Do questions answer themselves? / / In what sense can questions be said, or made, to constitute / / selves? / / Are you where I am? / / Do we...? //Can I... ?//When it begins again will weather be initiated that can be mined / / like ore? / / Are you a person who thinks in frames?" (from "One Hundred Questions"). American poet Tom Becker edited and published the critical poetics journal The Difficulties. Imported from the Canary Islands, cover drawing by Manuel Ocampo.

Triumvirate Technologies is under attack. Murder and arson keep the business owners on edge. A government audit adds to the angst. Further turmoil weighs down the business leaders when a junior executive proposes an absurd – and illegal – bet: he will get rid of the auditors within two weeks in exchange for leadership of the business. As the business crumbles, the police reach their own stunning conclusion about the identity and motive of the murderer. Someone is waging death and destruction against Triumvirate Technologies. The over/under on survival is not favorable.Wager of Death, a psychological thriller from the mind of Brian W. Peterson.

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In this classic of South American literature, Aires returns home to his native, Rio after many years abroad and is captivated by a young widow whom he sees praying at her husband's graveside. Her charm and the tragic story of her brief marriage increase his fascination, and soon he is indulging in impossible dreams. But the Brazil that Aires remembers from his youth is changing fast. A new era is dawning with events such as the coming of the railway and the abolition of slavery. The future belongs to a younger generation, to men like Tristao, the doctor and political candidate, who is also an admirer of the beautiful widow. This is a story of broken dreams, love, and obsession—universal themes that give the author's work the timeless quality for which it is renowned.

In The Wager of Lucien Goldmann, Mitchell Cohen provides the first full-length study of this major figure of postwar French intellectual life and champion of socialist humanism. While many Parisian leftists staunchly upheld Marxism's "scientificity" in the 1950s and 1960s, Lucien Goldmann insisted that Marxism was by then in severe crisis and had to reinvent itself radically if it were to survive. He rejected the traditional Marxist view of the proletariat and contested the structuralist and antihumanist theorizing that infected French left-wing circles in the tumultuous 1960s.Highly regarded by thinkers as diverse as Jean Piaget and Alasdair MacIntyre, Goldmann is shown here as a socialist who, unlike many others of his time, refused to portray his aspirations for humanity’s future as an inexorable unfolding of history’s laws. He saw these aspirations instead as a wager akin to Pascal’s in the existence of God. “Risk,” Goldmann wrote in his classic study of Pascal and Racine, The Hidden God, “possibility of failure, hope of success, and the synthesis of the three in a faith which is a wager are the essential constituent elements of the human condition.” In The Wager of Lucien Goldmann, Cohen retrieves Goldmann’s achievement―his “genetic structuralist” method, his sociology of literature, his libertarian socialist politics.Originally published in 2050.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

An innocent wager leads to a night of passion for flirtatious Bethany Silverton when she loses her virtue to handsome Hawk Chandler and soon finds herself in a shotgun wedding. Reissue.

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A biography of the Alaskan bush pilot emphasizing his thirty-three year flying career and his contribution to the development of bush aviation.

In The Wager of Lucien Goldmann, Mitchell Cohen provides the first full-length study of this major figure of postwar French intellectual life and champion of socialist humanism. While many Parisian leftists staunchly upheld Marxism's "scientificity" in the 1950s and 1960s, Lucien Goldmann insisted that Marxism was by then in severe crisis and had to reinvent itself radically if it were to survive. He rejected the traditional Marxist view of the proletariat and contested the structuralist and antihumanist theorizing that infected French left-wing circles in the tumultuous 1960s.Highly regarded by thinkers as diverse as Jean Piaget and Alasdair MacIntyre, Goldmann is shown here as a socialist who, unlike many others of his time, refused to portray his aspirations for humanity’s future as an inexorable unfolding of history’s laws. He saw these aspirations instead as a wager akin to Pascal’s in the existence of God. “Risk,” Goldmann wrote in his classic study of Pascal and Racine, The Hidden God, “possibility of failure, hope of success, and the synthesis of the three in a faith which is a wager are the essential constituent elements of the human condition.” In The Wager of Lucien Goldmann, Cohen retrieves Goldmann’s achievement―his “genetic structuralist” method, his sociology of literature, his libertarian socialist politics.Originally published in 2050.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Ivy Cameo Johnson, an oil baroness from Houston, has wealth that draws men like flies to honey, yet she also possesses intelligence and an awkwardness that runs them off. John William Dalhart, a Texas oil baron himself, out to prove his father and new business partner both wrong, was also born into wealth. There's been no Neither has met nor knows about the other. Until fate, and their meddling fathers, intervenes. Ivy makes a bet with her friend that she most certainly can work in a menial, minimum wage job for a month. Meanwhile, Will picks up the challenge thrown out by his father and Red Marshall daring him to live in a small town and get a woman to say she'd marry him while knowing nothing about his wealth. Both wind up in Murray County, Oklahoma---Cameo as the manager of the Strawberry Moon, a small burger joint on Highway 77; Will, a chief cook and dish washer. She thinks he's in the witness protection program. He thinks she's a poor country girl from the boonies. But they've agreed there'll be no past or future...only today while they're working at the Moon. When the month is over they'll both go their separate ways and never look back at what they shared. What they don't realize is that their future is together, in work, and in love.

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David Harper floundered to recover from a near fatal accident he experienced at sixteen that left him a paraplegic. For more than forty-two years, he has conquered insurmountable odds in a rugged rural landscape. Harper plunges into the pages of his life with enthusiasm, marginalizing his wheelchair. He writes with the hope of inspiring people of all ages to live life to the fullest potential.When one’s life falls into ruin, it is hard to press toward recovery. However, recovery lies in the person’s understanding of the potential God has given them. Through faith, Harper discovered his potential, despite life’s brutal reality.

Would you go back?When a man of science and a man of faith develop the ability to go back in time, there is only one place for them to go to demonstrate their new technology.After they make a wager about whether or not the resurrection of Jesus really happened, the two set out to prove it one way or the other. Along the way, they face obstacles and challenges from those who want to use their technology for personal gain.But what will they do when they learn about all the damage, and lives destroyed by what they have created?

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The tomboyish, headstrong young Henrietta wagers her most precious possession that she can marry the most worldly, bored and sought-after lord in Regency London, the Duke of Eversleigh

Adam Seligman, one of our most important social thinkers, continues the incisive critique of modernity he began in his previously acclaimed The Idea of Civil Society and The Problem of Trust. In this provocative new work of social philosophy, Seligman evaluates modernity's wager, namely, the gambit to liberate the modern individual from external social and religious norms by supplanting them with the rational self as its own moral authority. Yet far from ensuring the freedom of the individual, Seligman argues, "the fundamentalist doctrine of enlightened reason has called into being its own nemesis" in the forms of ethnic, racial, and identity politics. Seligman counters that the modern human must recover a notion of authority that is essentially transcendent, but which extends tolerance to those of other--or no--faiths. Through its denial of an authority rooted in an experience of transcendence, modernity fails to account for individual and collective moral action. First, deprived of a sacred source of the self, depictions of moral action are reduced to motives of self interest. Second, dismissing the sacred leaves the resurgence of religious movements unexplained. In this rigorous and imaginative study, Seligman seeks to discover a durable source of moral authority in a liberalized world. His study of shame, pride, collective guilt, and collective responsibility demonstrates the mutual relationship between individual responsibility and communal authority. Furthermore, Seligman restores the indispensable role of religious traditions--as well as the features of those traditions that enhance, rather than denigrate, tolerance. Sociologists, political theorists, moral philosophers, and intellectual historians will find Seligman's thesis enlightening, as will anyone concerned with the ethical and religious foundations of a tolerant society.

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Vermeer's Wager stands at the intersection of art history and criticism, philosophy and museology. Using a familiar and celebrated painting by Johannes Vermeer as a case study, Ivan Gaskell explores what it might mean to know and use a work of art. He argues that art history as generally practiced, while successfully asserting certain claims to knowledge, fails to take into account aspects of the unique character of works of art. Our relationship to art is mediated, not only through reproduction – particularly photography – but also through displays in museums. In an analysis that ranges from seventeenth-century Holland, through mid-nineteenth-century France, to artists' and curators' practice today, Gaskell draws on his experience of Dutch art history, philosophy and contemporary art criticism. Anyone with an interest in Vermeer and the afterlife of his art will value this book, as will all who think seriously about the role of photography in perception and the core purposes of art museums.