From New York Times bestselling author Mariah Stewart comes a new chapter in her celebrated Chesapeake Diaries series, featuring her signature “rich characterization, charming setting, and a romance you’ll never forget” (Robyn Carr, #1 New York Times bestselling author). Architect Cassidy Logan has sworn off good-looking adventurers. Newly divorced, she’s focused on building ecologically friendly, historically accurate homes on the Chesapeake Bay for her father’s construction company. Traveling to Cannonball Island—where there has been no new construction in nearly one hundred years—Cass is sensitive to the heritage of the island, and has come up with plans so perfect she’s determined to buy a home for herself. Even the fact that Owen Parker—a local who she dismisses as a lightweight and a player—seems to be everywhere isn’t enough to deter her from building her dream house. Owen Parker is and always has been sinfully handsome and wickedly clever, a magnet for mischief as well as girls. He’s a rolling stone, going and doing whatever appeals to him, from flying a mail plane in Alaska, to working on a cattle ranch in Australia, a shrimp boat in Louisiana, and surfing and diving in Costa Rica. When an old friend offers him a job salvaging a sunken ship on the Chesapeake Bay, Owen gladly accepts. Something’s been telling him it was time to head home to Cannonball Island, and a job is as good an excuse as any. And he’s totally smitten by the pretty architect on the scene, but it seems he’s finally met a woman who’s immune to his charms. Sooner or later, Owen will have to face the reason why he always runs, because this time, leaving just might be harder than staying.

The extraordinary story of the British women who made the perilous journey to Jamestown, Virginia, to become wives for tobacco planters in the New Colony. In 1621, fifty-six English women crossed the Atlantic in response to the Virginia Company of London's call for maids 'young and uncorrupt' to make wives for the planters of its new colony in Virginia. The English had settled there just fourteen years previously and the company hoped to root its unruly menfolk to the land with ties of family and children. While the women travelled of their own accord, the company was in effect selling them at a profit for a bride price of 150 lbs of tobacco for each woman sold. The rewards would flow to investors in the near-bankrupt company. But what did the women want from the enterprise? Why did they agree to make the dangerous crossing to a wild and dangerous land, where six out of seven European settlers died within their first few years - from dysentery, typhoid, salt water poisoning and periodic skirmishes with the native population? And what happened to them in the end? Delving into company records and original sources on both sides of the Atlantic, Jennifer Potter tracks the women's footsteps from their homes in England to their new lives in Virginia. Giving voice to these forgotten women of America's early history, she triumphantly invites the reader to journey alongside the brides as they travel into a perilous and uncertain future.

This book is a history of a community, and, moreover, a history by that community. In January, 2007, Jeannine Turgeon began to recruit a committee of Bellevue Park neighbors, volunteers who would be willing to produce a book about their neighborhood in honor of its 100th anniversary. Initial members were Clark and Vickie Bucher, Dan Deibler and Elizabeth Johnson, Chris Dick, Frank Haas, Hannah Leavitt, Carol Lopus, Mo Lynn, Bonnie Mark, Debbie Nifong, Peggy and Dan Purdy, John Quimby, Sue Ellen Ramer, Olivia Susskind, Doris Ulsh, Phil and Mary Walsh, Mary Warner, and Gretchen Yarnall. Prof. Michael Barton of Penn State Harrisburg was invited to serve as a consultant and general editor for the project, and we selected Xlibris as our publisher. In these early months, outlines were organized and re-organized, topics were proposed and discarded, and suggestions of all sorts were submitted and accepted or reluctantly retracted to fit within the publisher’s limits and the book’s budget.