The fight between Aelita and Amos over their son Feliciano continues ... Amos desires to see the mother of his one and only son in jail. He is using his mafia connections to prove his power with a fatal result: He plans the kidnapping of his own child. The coup brings the boy all over he even the fingers of the kidnappers – mainly due to the cleverness of the child. The story is told by each of the protagonists Aelita, Amos and Feliciano. Each of them tells us their view – sometimes angry, sad, often anxious. Aelita who fights for her son's life against the Mafia Clan, Amos who tries to destroy Aelita with every possible legal and illegal method, Feliciano - the son of the two – becomes the psychological victim of his father Amos who later on uses the unscrupulous gangsters of organised crime. The subject of kidnapping grabbed Delilah J. The number of missing children who are never found again – children who were killed. Often organised by the Mafia for satisfying profit and greed but sometimes even within the child's own family – every day, everywhere – amongst all of us.

Eddie, a twelve year old boy from San Francisco lives with his father Edward in London. There Edward D. Wilton IV. meets his fiancée Edwina who is desperately keen on getting married to him. She just got divorced from her husband Victor, a Scottish entrepreneur and lobbyist of the Liberal party in England. Edward, a very wealthy and powerful American businessman, managed to get sole custody of his son Eddie by scheming and using the legal system in America. He sees in Edwina a future fulltime nanny for his son who suffers the strict regime of his step mother day by day. In the posh London surroundings of Knightsbridge, the noble Queen's Club, the boarding school and the country house in Scotland, Eddie has to obey Edwina's snobby protocol. He misses his mother terribly who lives in California dependent on alcohol and class 'A' drugs. She can only see her son very rarely and under total control of the mighty father.

Sariah is a real princess from The Kingdom Of Black Gold. Her powerful father, one of the richest men in Africa, according to The Forbes List, gave her as a present to be married to a member of The Royal Family when she was a very young teenage girl. Sariah has a big dream: She wants to go to school, have an education and live a free live of her own choosing. One day she comes to London and falls in love. She is only fourteen but she forgets who she is, where she comes from: a married Arabian Princess! Back home in The Kingdom Of Black Gold, Sariah finds out that she is pregnant. The only person she can trust is her maid Khatiba. Together they plan to stay in London on Sariah's next visit. After giving birth to her daughter in London she seeks asylum in Britain. But is The Black Gold of higher priority for Britain's Prime Minister? She can't go back home – she fears for her life and the life of her child, being beheaded or stoned to death back in The Kingdom Of Black Gold...

Though once a favourite of no fewer than four English monarchs, Restoration playwright Thomas Durfey has long been neglected by scholars. In his own day he had a lowly reputation in the world of polite letters - before his death his plays had more or less ceased to be produced; his 'serious' poems had died long before that, and even his songs were soon thought of as common property or 'folk' songs. In this new study, author John McVeagh re-examines Durfey's literary output, finding merit and interest where it has long been presumed that none existed, and restoring Durfey to his proper place in late 17th- and early 18th-century literature. Durfey's creative lifetime spanned the entire Restoration period and continued into and beyond the reign of Queen Anne. McVeagh's book studies his continuing ability to adapt to shifts in taste, fashion and personnel in the world of the theatre. It examines in detail his numerous experiments in new kinds of dramatic writing, both responding to and influencing the conditions of theatrical and artistic production. Among the topics covered are Durfey's attempts to feminize Restoration comedy, his political satires in drama in the late Stuart years, his anticipations of sentimental comedy, his search for a new language for lower class tragedy, and his musical-dramatic experimentations in the 1680s and 1690s, focusing particularly on his collaborative work with Matthew Locke, Samuel Ackroyde, John Eccles, Daniel and Henry Purcell and other composers. In addition, the author discusses Durfey's numerous satiric, narrative and other poems, and relates his writings to their social, political and cultural contexts. The book includes a performance record, listing the plays by performance date. The record includes such information, if known, as: where it was performed; by what company; cast list; to whom it was dedicated; a brief description of the prologue and epilogue; when it was published; what music it contained; and details of any revivals.

Chawton House Library: Women's Travel Writings are multi-volume editions with full texts reproduced in facsimile with new scholarly apparatus. The texts have been carefully selected to illustrate various themes in women's history.

Reproduction of the original: Renaissance in Italy: Italian Literature Part 2 by John Addington Symonds

Pagination: xx + 163 pp.

Thomas De Quincey (1785-1859) is considered one of the most important English prose writers of the early-19th century. This is the second part of a 21-volume set presenting De Quincey's work, also including previously unpublished material.

Reprint of the original, first published in 1882.