Burning Up by Angela Knight, Nalini Singh, Virginia Kantra, Meljean Brook

By Angela Knight, Nalini Singh, Virginia Kantra, Meljean Brook

Bring those 4 authors jointly and it's bound to ignite a spark...

Angela Knight pairs a vampire warrior and his seductive captor in a conflict opposed to demonic predators.

Nalini Singh returns to the realm of her Psy-Changeling sequence as a girl in deadly threat reveals an not likely protector—and lover.

Virginia Kantra maintains the haunting stories of the Children of the Sea in her tale of a wounded soldier rescued by means of an enigmatic younger woman.

Meljean Brook launches a daring new steampunk sequence a couple of lady who moves a provocative—and terrifying—bargain for freedom.

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Author web page from wikipedia:
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Additional resources for Burning Up

Example text

Shiga Naoya’s “ Kinosaki ni te” (1917) was translated by Ed­ ward Seidensticker as “At Kinosaki” (in Modern Japanese Literature, ed. Donald Keene [New York: Grove, 1956]). 38. See Arthur Symons’ The Symbolist Movement in Literature (London: William Heinemann, 1899), which Uno read in English. 39. Ogyu Sorai (1666-1728), an important figure in Confucian thought and letters of the Tokugawa period. In 1706, Sorai made an official mission to the province of Kai to inspect the land thereon behalf of his lord, Yanagisawa Yoshiyasu (who had recently had his Kawagoe fief exchanged for Kai province).

And he refused to grant my request. I don’t need to tell you outright. As I go on talking, you’ll re­ alize that I’m not the most trustworthy person. Indeed I frequently failed to return money I borrowed from friends and never vacated a rooming house without leaving be­ hind an unpaid bill. 1 Is there anyone who would lend me anything for putting my seal to a pledge? N o publishing house, no magazine or newspa­ per publisher (I earn my living writing novels and am still single) would advance me a sen unless I have a publishable manuscript to give them.

I don’t mean that I was going to the pawnshop to redeem some­ thing I had pawned. I don’t have that kind of money. And I didn’t want to go there to pawn something. I don’t have anything to pawn anymore—not even a kimono. In fact, the kimono I’m wearing is already in hock. What do I mean? I’ve already borrowed money against it, and that isn’t all. Every month I have to pay a fee for wear and tear on this kimono— which is three times the interest I have to pay every six months for the money I borrowed against the other things I pawned.

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