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1 of 1 copy available
1 of 1 copy available
As a healer, he knows her body. But it's her heart he wants.


For a thousand years, Gideon has healed his people. And as the oldest surviving male of his race, his wisdom has always been respected without question. But Gideon knows that even he is vulnerable to the powerful, primitive desires that befall his kind during Hallowed moons—and nine years ago that truth was hammered home when he found himself claiming Magdalena, the Demon King's sister, in a wild embrace. Horrified by his lack of control, he left her wanting and furious—and then exiled himself for the better part of a decade. Now, with necromancers threatening his people—and Magdalena nearly their victim—Gideon must face another truth. He and the beautiful, stubborn Magdalena are destined to be together, to share a love as deep and old as time itself. But first he needs to regain her trust. Then he'll have to save her life.
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    • Publisher's Weekly

      April 9, 2007
      In Frank 's seductively crafted universe (introduced in last year's Jacob: The Nightwalkers
      ), demons aren't the clawed horrors of myth (unless they're possessed by the book's villainous necromancers); they're handsome, proud, sensuous and decidedly ambivalent about the world of mortals. Demons have a thousands-year-old rule forbidding them from coupling with humans, who aren't made to survive sex with the charismatic Nightwalkers; male protagonist Gideon, an ancient healer demon (who, naturally, doesn't look a day over 35), has spent eight years in self-imposed exile after attempting to break that law. Recently returned, guilt-wracked Gideon is finally drawn to the true object of his desire: the even-more-forbidden Magdelegna, young sister of hot-tempered demon king Noah. Though Magdelegna's kin raise hell over the May-December romance (at 250 years old, Magdelegna is barely an adult), the pair's breathtaking sex scenes raise more. Regrettably, the complex characterization that humanizes Frank's paranormal characters (including an urbane vampire, a sensual yet celibate lycanthrope queen and a couple of neo-Druids) doesn't extend to the necromancers, who remain faceless, one-dimensional foes throughout. The plot's central conflict between good and evil is therefore lacking the psychological depth, vivid detail and personal chemistry that make its sensitive, scorching romantic components so compelling.

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This project was made possible in part by the Institute of Museum and Library Services. Funding for additional materials was made possible by a grant from the New Hampshire Humanities and the National Endowment for the Humanities.