Bøker av Lisa Carter

New Edition - Revised, Corrected, and Healthier than ever!

Caden Wallis lost friends, his girlfriend, and even his leg to the ravages of war. He arrives on the Outer Banks broken and still reeling, struggling to make peace with his new life. McKenna Dockery has been stuck in limbo since her fiancâe died three years ago. Now, when the handsome yet heartbroken Caden arrives at her doorstep, she starts to wonder if there may be hope for her heart after all . . .But no sooner do they meet than a man is found murdered on McKenna's property--and Caden is the prime suspect. The two must learn to trust each other, or no one will be safe in the tangled web of conspiracy, greed, and deceit lurking in the tidal marshlands of the Outer Banks.

Alison wanted her cheating husband gone, not dead...

Can searching your past create a new beginning or just new frustration?

No matter how fast you run, the past has a way of catching up with you.

Discover what happens when love and danger collide deep in the heart of the Navajo Nation.

Secrets and danger hide deep in the canyons and arroyos of the Navajo Nation.

Shakespeare''s plays are to be seen all over the world in any major repertory company. While much has been written on every aspect of the staging of his plays by Shakespearean scholars, actors and directors, the dancing has over time become less and less important almost to the point of obsolescence. While this trend is certainly not acceptable to me (and probably would not be to Mr. Shakespeare either were he alive today), directors when asked about the reason for there being no dance in the play lamely point to a lack of clear guidance from Shakespeare in his scripts as well as to rehearsal time constraints to teach the required period dances. My thesis will endeavor to show that a lack of dance in Shakespeare''s plays is not only historically incorrect but also robs the modern day audience of the full spectacle of the occasion that defined that historical period. There are many resources available to directors should they be willing to commit to a wholly accurate reading of the play because a Shakespearean drama without the dance is, to my mind, hardly Shakespeare at all.