Much has changed since autumn, when Kelley Winslow learned she was a Faerie princess, fell in love with changeling guard Sonny Flannery, and saved the mortal realm from the ravages of the Wild Hunt.

Now Kelley is stuck in New York City, rehearsing Romeo and Juliet and missing Sonny more with every stage kiss, while Sonny has been forced back to the Otherworld and into a deadly game of cat and mouse with the remaining Hunters and Queen Mabh herself.

When a terrifying encounter sends Kelley tumbling into the Otherworld, her reunion with Sonny is joyful but destined to be cut short. An ancient, hidden magick is stirring, and a dangerous new enemy is willing to risk everything to claim that power.

Caught in a web of Faerie deception and shifting allegiances, Kelley and Sonny must tread carefully, for each next step could topple a kingdom . . . or tear them apart.

With breathtakingly high stakes, the talented Lesley Livingston delivers soaring romance and vividly magical characters in Darklight, the second novel in the trilogy that began with Wondrous Strange.

When a minority race of telepaths is suspected of causing a near-devastating tidal wave, Private Kaylin Neya is summoned to Court—and into a PR nightmare. To ease racial tensions, the emperor has commissioned a play, and the playwright has his own ideas about who should be the focus...

But Kaylin works her best magic behind the scenes, and though she tries to stay neutral, she is again drawn into a world of politics—and murder. To make matters worse, Marcus, her trusted sergeant, gets stripped of his command, leaving Kaylin vulnerable. Now she's juggling two troubling cases, and even magic's looking good by comparison. But then, nobody ever said life in the theater was easy.

Los árboles mueren de pie is considered one of the best works of Alejandro Casona (Besullo, Asturias, 1903 - Madrid, 1965) and is also one of the most representative of the poetic theater that characterizes the author. From an action that takes place in a philanthropic institution, the reader/spectator witnesses the violent clash between two frequent values in his theater: fantasy and reality, with the triumph of the latter in this play.

Creator of types, the character of the Grandmother has all the strength of the tragic characters and constitutes the central element of the work. With her temperament and strength, she dominates adverse circumstances, confronts a painful reality, and when she feels weakened, she does not want to be seen fallen, but rather: "dead inside but standing. Like a tree."