By Maya Banks
Holly Bardwell is working from her earlier error. instantly into the hands of the Colter brothers.
Adam, Ethan and Ryan aren’t searching for ladies. They’re searching for a lady. One lady they recognize will proportion their lives and their beds. They’re wasting desire they’ll locate her, that's till Adam discovers Holly mendacity within the snow simply yards from their cabin. Adam is familiar with she’s the single the minute he holds her in his fingers, and once his brothers see her, they understand it too. the one challenge is convincing Holly of that fact—and preserving her from the risk of her past.
Warning, this identify includes the subsequent: specific intercourse, photograph language, ménage a quatre, violence.
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Extra info for Colters' Woman (Colters' Legacy, Book 1)
Scenes and types. Moorish family. 39 Couples The photographer makes these couples posing in the studio express more than they are capable of saying. He manipulates, in spite of them (note the stiff and reticent attitudes), a meaning of which their bodies (forced to stand side by side in the representation of the couple) are the silent yet eloquent signs. There is also evident here another aspect of the symbolic violence, but this time it is carried out upon individuals who are made exemplary by the postcard.
Group of Moorish women. (Written on card: Don't get bored [signed:] L. ) 32 Moorish women in their quarters. 33 Women's Quarters The women's quarters that the postcard sets out to explore cannot sustain the illusion after a while, however, even though the ethnographic alibi seems to suit it perfectly. Again, the model and the studio will greatly compensate for the weakness of the theme and the poverty of the imagination. A few young women, seated on mats, posing in front of a hanging carpet will suffice to suggest the familiarity of the photographer with the inside of this female world.
But the veil has another function: to recall, in individualized fashion, the closure of private space. It signifies an injunction of no trespassing upon this space, and it extends it to another space, the one in which the photographer is to be found: public space. These white islets that dot the landscape are indeed aggregates of prohibition, mobile extensions of an imaginary harem whose inviolability haunts the photographer-voyeur. They are scandalous, or at least perceived as being so. By their omnipresence, they revive frustration.
Colters' Woman (Colters' Legacy, Book 1) by Maya Banks