Do you hear that sound? It’s the beguiling whisper of a romance novel calling your name, begging you to get cozy with it this Valentine’s Day week. It wants you to hold it. Read it. Enjoy it. It wants you to savor every word, laugh at every funny, sigh in pleasure at every—well, you get […]
A pact is sealed in secret behind the foreboding walls of Newgate Prison. In return for one night of unparalleled pleasure, a dashing condemned criminal consents to wed a beautiful heiress, thereby rescuing her from an impending and abhorred arranged union.
But in the fading echoes of hollow wedding vows, a solemn promise is broken, as a sensuous free spirit takes flight to a lush Caribbean paradise, abandoning the stranger she married to face the gallows unfulfilled.
Ruark Beauchamp’s destiny is now eternally intertwined with that of the tempestuous, intoxicating Shanna. He will be free . . . and he will find her. For no iron ever forged can imprison his resolute passion. And no hangman’s noose will keep Ruark from the bride— and ecstasy—that he craves.
|Product dimensions:||6.76(w) x 4.18(h) x 1.41(d)|
About the Author
Born on June 3, 1939 in Alexandria, Louisiana, Mrs. Woodiwiss was the youngest of eight siblings. She long relished creating original narratives, and by age six was telling herself stories at night to help herself fall asleep. At age 16, she met U.S. Air Force Second Lieutenant Ross Woodiwiss at a dance, and they married the following year. She wrote her first book in longhand while living at a military outpost in Japan.
Woodiwiss is credited with the invention of the modern historical romance novel: in 1972, she released The Flame and the Flower, an instant New York Times bestseller, creating literary precedent. The Flame and the Flower revolutionized mainstream publishing, featuring an epic historical romance with a strong heroine and impassioned sex scenes. "Kathleeen E. Woodiwiss is the founding mother of the historical romance genre," says Carrie Feron, vice president/editorial director of William Morrow and Avon Books, imprints of HarperCollins Publishers. Feron, who has been Woodiwiss's editor for 13 years, continues, "Avon Books is proud to have been Kathleen's sole publishing partner for her paperbacks and hardcover novels for more than three decades." Avon Books, a leader in the historical romance genre to this day, remains Mrs. Woodiwiss's original and only paperback publisher; William Morrow, Avon's sister company, publishes Mrs. Woodiwiss's hardcovers.
The Flame and the Flower was rejected by agents and hardcover publishers, who deemed it as "too long" at 600 pages. Rather than follow the advice of the rejection letters and rewrite the novel, Mrs. Woodiwiss instead submitted it to paperback publishers. The first publisher on her list, Avon, quickly purchased the novel and arranged an initial 500,000 print run. The novel sold over 2.3 million copies in its first four years of publication.
The success of this novel prompted a new style of writing romance, concentrating primarily on historical fiction tracking the monogamous relationship between a helpless heroines and the hero who rescued her, even if he had been the one to place her in danger. The romance novels which followed in her example featured longer plots, more controversial situations and characters, and more intimate and steamy sex scenes.
"Her words engendered an incredible passion among readers," notes Feron. Bestselling author Julia Quinn agrees, saying, "Woodiwiss made women want to read. She gave them an alternative to Westerns and hard-boiled police procedurals. When I was growing up, I saw my mother and grandmother reading and enjoying romances, and when I was old enough to read them myself, I felt as if I had been admitted into a special sisterhood of reading women."
New York Times bestselling author Susan Elizabeth Phillips, a leading voice in the women's fiction arena, says, "We all owe our careers to her. She opened the world of romance to us as readers. She created a career for us to go into."
The pioneering author has written 13 novels over the course of 35 years, all New York Times bestsellers. Kathleen E. Woodiwiss's final literary work, the upcoming Everlasing, will be published by William Morrow in October 2007. "Everlasting is Kathleen's final gift to her fans," notes Feron.
Kathleen E. Woodiwiss, who was predeceased by her husband and son Dorren, is survived by sons Sean and Heath, and numerous grandchildren.
Date of Birth:June 3, 1939
Date of Death:July 6, 2007
Place of Birth:Alexandria, Louisiana
Place of Death:Princeton, Minnesota
Read an Excerpt
Shanna moved to stand close before him to lend weight to her words. Her eyes wide and appealing, she stared into his and spoke almost in a whisper.
"Ruark, I am in distress. I must be wed to a man of sterling name, and you must be aware of the importance in England of the Beauchamp fam ily. No one would know except myself, of course, that you are no kin. And since you have little future need of your narne, I could use it well."
Ruark' s confusion blunted his wits. He could not think of her motive. A lover? A child? Certainly not debts, for she was of money such as no debt could entangle. His puzzled frown met the blue-green eyes.
"Surely, madam, you jest. To propose marriage to a man about to hang? Upon my word, I cannot see the logic in it."
" 'Tis a matter of some delicacy." Shanna presented her back to him as if embarrassed and paused before continuing. She spoke de murely over her shoulder. "My father, Orlan Trahern, gave me one year to find a husband, and failure shall find me betrothed to whom he wills. He sees me a spinster and wants heirs for his fortunes. The man must be of a family privy to King George. I have not yet found the one I would choose as my own, though the year is almost gone. You are my one last hopeto avoid a marriage arranged by my father." Now came the hardest part. She had to plead with this filthy, ragged colonial. She kept her face averted to hide her distaste. "I have heard,'' she said carefully, "that a man may marry a woman to take her debts to the gallows in re turn for an easing of his final days. I can give you much, Ruark--food, wines, suitable clothing and warm blankets. And surely my cause--"
At his continued silence, Shanna turned toward him and tried to see his features in the gloom, but he had carefully maneuvered their po sitions until she now was presented full to the light when she faced him. The wily beggar had moved so stealthily that she had not been aware of it.
Ruark's voice was somewhat strained as he finally said, "Milady, you test me sorely. A gentleman my mother tried to teach me to be, with good respect for womanhood." Shanna's breath caught as he stepped nearer. "But my father, a man of considerable wisdom, taught me early in my youth a rule I've long abided."
He walked slowly around her, much as she had done with him a few moments before, then halted when he stood at her back. Scarcely breathing, Shanna waited, feeling his nearness yet not daring to move.
"Never--" Ruark's whisper came close to her ear, stirring awake a tingling of fear in her. "Never buy a mare with a blanket on."
Shanna could not suppress a flinch as his hands came over her shoulders and hovered above the fasteners of her cloak.
"May I?'' he asked and his voice, though soft, seemed to fill the very corners of the cell. Ruark accepted her silence as consent, and Shanna braced herself while his lean fingers undid the velvet frogs. He drew the cloak from her, and though lacking splendorous trimming and fancy laces, her deep red velvet gown enhanced her beauty divinely. She was the gem, the jewel of rare beauty which made the dress more than a garment but rather a work of art. Above the hooped panniers which expanded her skirt on the sides, the tightly laced bodice showed the narrowness of her waist while it cupped her bosom to a most daring display above the square decolletage. In the golden glow of the tallow lantern, her skin gleamed like rich, warm satin.
Ruark stood close, his breath falling softly against her hair, his head filled with the delicious scent of woman.