Arielle Immortal Fury (The Immortal Rapture, Book 6) by Lilian Roberts

By Lilian Roberts

A reminiscence of love…
On her go back to the current from a time-travel trip to sixteenth-century Calais, France, collage co-ed Arielle Lloyd anticipates a cheerful welcome from her immortal fiancé, Sebastian Gaulle. She is surprised to find that he doesn’t take into accout their time jointly there and wonders, has she misplaced him forever?
Danger from afar…
As Sebastian attempts to shake free his traumatic thoughts and resolve the enigma of Arielle’s haunting eyes, the Russian Mafia ups the stakes of their lethal online game to thieve the most important files from his corporation. Then an envelope arrives with photographs of Arielle. The message is apparent: if Sebastian fails to fulfill their calls for, his love can pay the fee together with her life.
A love throughout all time…
Sebastian and his affiliates sign up for forces with Interpol in a race to thwart the Russians’ plans. within the worldwide conflict, the Russians have made a significant mistake. they've got threatened the loved of an indestructible immortal, a lady Sebastian basically now realizes he has enjoyed around the centuries.

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Additional resources for Arielle Immortal Fury (The Immortal Rapture, Book 6)

Sample text

As a key member of a group of late nineteenth-century intellectuals, nicknamed ‘the Souls’*, Violet talked about art and berated the philistinism of the Victorian age. She was also much admired for her own amateur gifts, with several of her busts and her silver-point and pencil portraits exhibited in London galleries. A reputation for being different, even mildly rebellious, had attached itself to her. While Violet deferred to the formal duties of a Duke’s wife, she clearly preferred intimate suppers to grand dinners and court events.

1 Yet over the following days she would be feted by artists and critics as a black pearl, an ebony Venus, a jazz age vamp with the soul of an African goddess. Postcards of ‘La Baker’ went on sale, as did a range of Josephine dolls. Her shiny black hair and coffee-coloured skin, the source of so much abuse back home, were harnessed to the marketing of French beauty products: hair pomade for the glossing of Eton crops; walnut oil for the faking of summer tans. Her hard, supple body was celebrated as an icon of contemporary style – reflecting the glossy streamlined aesthetic of art deco and the gamine flair of the French garçonne.

They were written about by the same novelists and journalists, photographed for the same publications. But biography is essentially about the colour and detail of individual lives and in writing this book I’ve been fortunate to profit from the groundwork of many other fine biographers. To their research and knowledge I owe a profound debt. In the matter of language, the 1920s was a world away from our own politically conscious era. Young women were girls, blacks were often niggers, female actors were actresses, and even though this usage can grate on modern ears, I’ve opted to retain a flavour of it, for the sake of period accuracy.

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