Books with title Red, White

Loss defines her past, danger her future......in between stands Adam......mysterious, beautiful, and so out of her league.Will his secret keep them apart or will they learn how to trick fate?Dive into your new favorite angel series!Falling in love with a paranormal creature isn’t a good idea for 18-year-old Claire. Having just adjusted to a new High School after her parents’ death, she can’t afford to be sidetracked by complications of any kind—no matter how intriguing. But fate has different plans for her…As she falls head over heels for Adam, Claire inevitably spirals into the eternal war between good and evil.“I love you,” he said with a smile on his lips. And then his eyes snapped open, flashing green. A white blur shot out from between his shoulders, smashing everything within reach. I was thrown to the ground by the force of it and something hard hit my head. The last thing I saw was Adam’s shape against the white radiating light that seemed to have its source inside him...When 18-year-old Claire Gabriel meets Adam, her life takes a drastic turn. He seems to have stepped right out of a fairy tale and he is beautiful – more than anything. On the way to discovering his secret, Claire soon finds herself in love with the mysterious boy.Unable to evade the dark shadow their feelings for each other draw up, Claire becomes a target in the eternal war between good and evil. . .White is Angelina J. Steffort's debut paranormal romance novel and the first book in The Wings Trilogy, the story about the impossible love between a girl and an angel.*2019 improved version*White is one of the top 15 books on Listopia's list for Twilight fans, ranked alongside with The Mortal Instruments by Cassandra Clare, Fallen by Lauren Kate, Hush Hush by Becca Fitzpatrick, Shiver by Maggie Stiefvater, Vampire Academy, and many more...Continue The Wings Trilogy from Adam's point of view:Spark (The Wings Trilogy: Adam #1)Fire (The Wings Trilogy: Adam #2)Ashes (The Wings Trilogy: Adam #3)Praise for White:“Angelina’s first novel is virtually unputdownable: a delightful, wicked, deeply seductive fantasy with characters that leap off the page and a love story that has its reader yearning for more. Thank God there will be more installments to come. Read at your own peril - because you are going to get stuck and burn the midnight oil with this one: Angelina J. Steffort has crafted a deeply engaging world with a level of astounding detail. For an author’s debut, this is world-building at full power and romance writing as it should be.“ (Toni Weiss, Creative Partner @ Little Lights Studio)“White is a thoroughly entertaining tale of Good vs Evil. Claire and Adam are two young adults living ordinary lives. When they meet, Claire unknowingly becomes a catalyst between the forces of good and evil. People and events are not always what they appear to be. The ending came as a complete shock! I can’t wait to see what happens next.” (Donna Wolz, editor @ Wise Owls)“I read, no, I swallowed the story. White has a great flow and the ending brings together nicely the storylines Angelina builds up throughout the whole book. It was easy to fall into the mystical love story between Claire and Adam. White is captivating and suspenseful. A real page turner.” (Katharina Sabetzer, coach & writer @ erzählbar)About the author“Chocolate fanatic, milk-foam enthusiast and huge friend of the southern sting-ray. Writing is an unexpected career-path for me.”Bestselling author Angelina J. Steffort was born in 1984. She

Own it, snowflakes: you've lost everything you claim to hold dear.White is Bret Easton Ellis's first work of nonfiction. Already the bad boy of American literature, from Less Than Zero to American Psycho, Ellis has also earned the wrath of right-thinking people everywhere with his provocations on social media, and here he escalates his admonishment of received truths as expressed by today's version of "the left." Eschewing convention, he embraces views that will make many in literary and media communities cringe, as he takes aim at the relentless anti-Trump fixation, coastal elites, corporate censorship, Hollywood, identity politics, Generation Wuss, "woke" cultural watchdogs, the obfuscation of ideals once both cherished and clear, and the fugue state of American democracy. In a young century marked by hysterical correctness and obsessive fervency on both sides of an aisle that's taken on the scale of the Grand Canyon, White is a clarion call for freedom of speech and artistic freedom. "The central tension in Ellis's art—or his life, for that matter—is that while [his] aesthetic is the cool reserve of his native California, detachment over ideology, he can't stop generating heat.... He's hard-wired to break furniture."—Karen Heller, The Washington Post "Sweating with rage . . . humming with paranoia."—Anna Leszkiewicz, The Guardian "Snowflakes on both coasts in withdrawal from Rachel Maddow's nightly Kremlinology lesson can purchase a whole book to inspire paroxysms of rage . . . a veritable thirst trap for the easily microaggressed. It's all here. Rants about Trump derangement syndrome; MSNBC; #MeToo; safe spaces."—Bari Weiss, The New York Times

31-year-old Truman Cox doesn’t really like the glitz and the glamour of the business world, he’s a real man with a Marine past that weighs heavily on his shoulders, but he cares about his family’s company too much not to be involved in it and as the Head of Security he feels his duty to keep everybody safe keenly.His life is one of responsibilities and too many bad memories, but then one day he lays eyes on Ivy and all his priorities change: protecting her, keeping her safe, even from himself, is of the essence.No way he’ll taint her with the ugliness of his past: he’d rather not have her at all than ruin her.22-year-old Ivy Cooper is a sweet and shy graphic designer that spends more time sketching than she ever does living. She’s new to Philly and to love, until she meets Truman and he pierces her heart, making her feel like she really belongs, but he won’t do anything about it.There’s an invisible barrier keeping them apart and she’s not going to stop until she breaks through and she’s about to do just that.Truman has been falling for Ivy since he met her, but it’s on the Fourth that he falls for good, finally hitting the ground, and once he has her in his arms there’s no going back, she will make sure of that. Dear Reader:Will they/won’t they might be the behind the scenes of this story, but once they get too close all bets are off.This steamy novella is pure sugary-smut and the epitome of SAFE: there’s NO-cheating, no OW/OM drama and it’s HEA-guaranteed.It’s a totally inappropriate, quick and explosive ride that will light up your summer sky with a tall dark and handsome protective alpha that also has a beard —you’re welcome!— a sweet curvy redhead, desperate to pull her man out of his dark place, and more heat than should be allowed! Warning: This Fourth of July there are going to be fireworks all right, but not just the usual kind! These two are going to see stars and so will you!*Please note that ‘Red, White & Hers’ is book 2 in the ‘Falling on the Fourth’ series, each one of the 4 novellas focuses only on one couple and there are no cliffhangers so the books can be read in any order and also as standalones.

Own it, snowflakes: you've lost everything you claim to hold dear.White is Bret Easton Ellis's first work of nonfiction. Already the bad boy of American literature, from Less Than Zero to American Psycho, Ellis has also earned the wrath of right-thinking people everywhere with his provocations on social media, and here he escalates his admonishment of received truths as expressed by today's version of "the left." Eschewing convention, he embraces views that will make many in literary and media communities cringe, as he takes aim at the relentless anti-Trump fixation, coastal elites, corporate censorship, Hollywood, identity politics, Generation Wuss, "woke" cultural watchdogs, the obfuscation of ideals once both cherished and clear, and the fugue state of American democracy. In a young century marked by hysterical correctness and obsessive fervency on both sides of an aisle that's taken on the scale of the Grand Canyon, White is a clarion call for freedom of speech and artistic freedom. "The central tension in Ellis's art—or his life, for that matter—is that while [his] aesthetic is the cool reserve of his native California, detachment over ideology, he can't stop generating heat.... He's hard-wired to break furniture."—Karen Heller, The Washington Post "Sweating with rage . . . humming with paranoia."—Anna Leszkiewicz, The Guardian "Snowflakes on both coasts in withdrawal from Rachel Maddow's nightly Kremlinology lesson can purchase a whole book to inspire paroxysms of rage . . . a veritable thirst trap for the easily microaggressed. It's all here. Rants about Trump derangement syndrome; MSNBC; #MeToo; safe spaces."—Bari Weiss, The New York Times

Bret Easton Ellis has wrestled with the double-edged sword of fame and notoriety for more than 30 years now, since Less Than Zero catapulted him into the limelight in 1985, earning him devoted fans and, perhaps, even fiercer enemies. An enigmatic figure who has always gone against the grain and refused categorization, he captured the depravity of the '80s with one of contemporary literature's most polarizing characters, American Psycho's iconic, terrifying Patrick Bateman, and received plentiful death threats in the bargain. In recent years, his candor and gallows humor on both Twitter and his podcast have continued his legacy as someone determined to speak the truth, however painful it might be, and whom people accordingly either love or love to hate. He encounters various positions and voices controversial opinions, more often than not fighting the status quo. Now, in White, with the same originality displayed in his fiction, Ellis pours himself out and, in doing so, eviscerates the perceived good that the social media age has wrought, starting with the dangerous cult of likability. White is both a denunciation of censorship, particularly the self-inflicted sort committed in hopes of being 'accepted', and a bracing view of a life devoted to authenticity. Provocative, incisive, funny and surprisingly poignant, White reveals not only what is visible on the glittering, pristine surface but also the riotous truths that are hidden underneath.

Three novels. Two worlds. One Story. Enter an adrenaline-laced epic where dreams and reality collide.Black - An incredible story of evil and rescue, betrayal and love, and a terrorist threat unlike anything the human race has ever known. A virulent evil has been unleashed upon the people of Earth. The only man who can stop it is Thomas Hunter, an unlikely hero whose life is stretched between two worlds. Every time he falls asleep in one reality, he awakes in the other. Soon Thomas no longer knows which reality is real. Yet it quickly becomes apparent that his choices in each world impact the other--and that the fates of both rest in his hands.Red - In one world, Thomas Hunter is a battle-scarred general commanding an army of primitive warriors. In the other, he's racing to outwit sadistic terrorists intent on creating global chaos through an unstoppable virus. Thomas must find a way to change history--or face the destruction of two worlds.White - Thomas Hunter has only days to survive two separate realms of danger, deceit, and destruction. The fates of both worlds now rest on his unique ability to shift realities through his dreams. Thomas and The Circle must quickly decide who they can trust--both with their own lives and the fate of millions. And neither the terror of Black nor the treachery of Red can prepare Thomas for the forces aligned against The Circle in White.

Combining personal reflection and social observation, Bret Easton Ellis's first work of nonfiction is an incendiary polemic about this young century's failings, e-driven and otherwise, and at once an example, definition, and defense of what "freedom of speech" truly means.Bret Easton Ellis has wrestled with the double-edged sword of fame and notoriety for more than thirty years now, since Less Than Zero catapulted him into the limelight in 1985, earning him devoted fans and, perhaps, even fiercer enemies. An enigmatic figure who has always gone against the grain and refused categorization, he captured the depravity of the eighties with one of contemporary literature's most polarizing characters, American Psycho's iconic, terrifying Patrick Bateman. In recent years, his candor and gallows humor on both Twitter and his podcast have continued his legacy as someone determined to speak the truth, however painful it might be, and whom people accordingly either love or love to hate. He encounters various positions and voices controversial opinions, more often than not fighting the status quo. Now, in White, with the same originality displayed in his fiction, Ellis pours himself out onto the page and, in doing so, eviscerates the perceived good that the social-media age has wrought, starting with the dangerous cult of likeability. White is both a denunciation of censorship, particularly the self-inflicted sort committed in hopes of being "accepted," and a bracing view of a life devoted to authenticity. Provocative, incisive, funny, and surprisingly poignant, White reveals not only what is visible on the glittering, pristine surface but also the riotous truths that are hidden underneath.

"White" is not a book about colors. It is rather Kenya Haras attempt to explore the essence of "White", which he sees as being closely related to the origin of Japanese aesthetics – symbolizing simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void. Kenya Hara also sees his work as a designer as a form of communication. Good communication has the distinction of being able to listen to each other, rather than to press one’s opinion onto the opponent. Kenya Hara compares this form of communication with an "empty container". In visual communication, there are equally signals whose signification is limited, as well as signals or symbols such as the cross or the red circle on the Japanese flag, which – like an "empty container" – permit every signification and do not limit imagination. Not alone the fact that the Japanese character for white forms a radical of the character for emptiness has prompted him the closely associate the color white with emptiness.