Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I be to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people won’t feel insecure around you. We are all meant to shine, as children do. We were born to make manifest the glory of God that is within us. It’s not just in some of us; it’s in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others.
~ Marianne Williamson, A Return to Love: Reflections on the Principles of A Course in Miracles
Since the day of her birth, Princess Faedrah Austiere has been defined by her place within the kingdom. As the single heir to the half-blood gypsy king and his prophesied white queen, she is fiercely protected, shuttered inside an ivory castle and well-trained in the art of war. Yet neither her obligations as future queen nor the black infestation threatening her kingdom fail to hinder the mysterious pull of the antique armoire hidden in her parents’ bedchamber. And stealing the golden key for a leap through time is the only way to confront the dark lord haunting her dreams.
One face. The image of one defiant, relentless woman has been stuck in Rhys McEleod’s head ever since he was old enough paint her luscious curves on the canvas. But the day she walks into his life off the street—sexier than hell and itching for a fight—he’s not convinced she’s the same women he’s envisioned since childhood. That is, not until he spots the golden key around her neck—an object he’d never fully shown in any of his paintings.
Now if he could just persuade his lovely muse he’s not the enemy. Unless the elusive Faedrah Austiere learns to trust him, he’ll never have her in his bed—the one place he’s convinced she belongs.