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1000 tulosta hakusanalla A. B. Gayle

A Date to Die For

A Date to Die For

Gaylene B Corben

Alkira Publishing
2022
pokkari
Detectives Joseph Paterson and Tessa Mariani must match their wits against an intelligent and highly organised serial killer before there's another victim. The only clues at the bloody murder scenes are a cryptic note and a white rose.
Rosso e grigio

Rosso e grigio

A. B. Gayle

Triskell Dreamspinner Special Print Edition
2016
nidottu
Un libro della serie 'Gli opposti si attraggono' Appena arrivato dai boschi del Minnesota, lo studente di scienze attuariali Ben Dutoit entusiasta di aver ottenuto uno stage alla Sydney Sutherland Family Insurance, una delle poche aziende a offrire assicurazioni sulla vita per le categorie ad alto rischio di salute. Il fatto che l'ufficio si trovi a Gay central, ovvero San Francisco, solo la ciliegina sulla torta, una torta dai colori dell'arcobaleno. Ben ha solo tre obiettivi da raggiungere: essere se stesso senza mai nascondersi e partecipare orgogliosamente al Gay Pride della citt , conoscere tanta gente interessante nei vari locali e, forse, se fortunato, innamorarsi. Ma gli uomini che Ben incontra sono tutto il contrario di lui: galanti, sofisticati, sicuri e sexy. Al contrario di Ben, rozzo provinciale, loro appartengono a famiglie ricche e benestanti, nobili e conservatrici, e portano sulle spalle tutte le responsabilit che derivano dalle loro posizioni. Mentre Ben ancora si chiede se uno come lui potr mai appartenere al loro mondo, inizia a scoprire i rischi di ci che questo mondo sofisticato potrebbe comportare. L'economia globale in crisi e il lavoro che tanto desiderava sul filo del rasoio. Tutti i suoi sogni sono in pericolo, specialmente quello pi grande: l'amore.
Red+Blue

Red+Blue

A.B. Gayle

Dreamspinner Press
2012
nidottu
An Opposites Attract novel Fresh from backwoods Minnesota, actuarial student Ben Dutoit is ecstatic to land a job with Sydney Sutherland Family Insurance, one of the few companies that offers life insurance to people in the high-risk category. The fact that he gets to work in Gay Central, aka San Francisco, is just the icing on the rainbow-colored cake. Ben sets himself just three goals: be out and proud enough to participate in the Pride parade; seek out the company of like-minded souls in the clubs; and maybe, if he's lucky, fall in love. But the men Ben meets are everything he's not: suave, confident, sophisticated, and sexy. Unlike redneck Ben, they're blue bloods from blue states, born with status, wealth, and the responsibility that comes with the package. Ben's still wondering if red and blue can mix when he discovers what risk really means. The global economy tanks. The job he looked forward to is in jeopardy, and every dream Ben ever had is threatened, especially love, the biggest dream of all.
Leather+Lace

Leather+Lace

A.B. Gayle

Dreamspinner Press
2013
nidottu
An Opposites Attract novel Swathed in chiffon and lace, Steven Stanhope owns the stage as Stevie Tricks, lip-synching the songs of the famous gypsy queen. But after he escapes an abusive Master/slave relationship, the only collar he'll allow around his neck is black velvet. After a four-year absence, Steve is ready to reclaim his life and the property he left behind. But is it safe? Definitely not if his ex is still into leather. To find out, Steve appears at a charity night for the local BDSM community, using the anonymity of his stage persona to mask his identity. Instead of his ex-Master, Julius, Steve finds a tangled mess centered around another Master of Leather, Donato Rossi. In order to unravel their ties to the past, Steve and Don must find common ground and work together. In the process, they learn that when it comes to love, sometimes you have to make your own rules.
A Social History of British Performance Cultures 1900-1939
This book provides a new social history of British performance cultures in the early decades of the twentieth century, where performance across stage and screen was generated by dynamic and transformational industries.Exploring an era book-ended by wars and troubled by social unrest and political uncertainty, A Social History of British Performance Cultures 1900–1939 makes use of the popular material cultures produced by and for the industries – autobiographies, fan magazines and trade journals, as well as archival holdings, popular sketches, plays and performances. Maggie B. Gale looks at how the performance industries operated, circulated their products and self-regulated their professional activities, in a period where enfranchisement, democratization, technological development and legislation shaped the experience of citizenship. Through close examination of material evidence and a theoretical underpinning, this book shows how performance industries reflected and challenged this experience, and explored the ways in which we construct our ‘performance’ as participants in the public realm.Suited not only to scholars and students of British theatre and theatre history, but to general readers as well, A Social History of British Performance Cultures 1900–1939 offers an original intervention into the construction of British theatre and performance histories, offering new readings of the relationship between the material cultures of performance, the social, professional and civic contexts from which they arise, and on which they reflect.
A Social History of British Performance Cultures 1900-1939
This book provides a new social history of British performance cultures in the early decades of the twentieth century, where performance across stage and screen was generated by dynamic and transformational industries.Exploring an era book-ended by wars and troubled by social unrest and political uncertainty, A Social History of British Performance Cultures 1900–1939 makes use of the popular material cultures produced by and for the industries – autobiographies, fan magazines and trade journals, as well as archival holdings, popular sketches, plays and performances. Maggie B. Gale looks at how the performance industries operated, circulated their products and self-regulated their professional activities, in a period where enfranchisement, democratization, technological development and legislation shaped the experience of citizenship. Through close examination of material evidence and a theoretical underpinning, this book shows how performance industries reflected and challenged this experience, and explored the ways in which we construct our ‘performance’ as participants in the public realm.Suited not only to scholars and students of British theatre and theatre history, but to general readers as well, A Social History of British Performance Cultures 1900–1939 offers an original intervention into the construction of British theatre and performance histories, offering new readings of the relationship between the material cultures of performance, the social, professional and civic contexts from which they arise, and on which they reflect.