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In Morocco
The witch and her wolf series
Soleil Summer is a rather ordinary 17 year old School girl, a bit shy and unassuming … at least until her world is turned upside down. First she meets the very handsome Luca, the New boy in school … and she also can’t help but notice the alluring King of the vampire goths.
And then of course there is the fact that on her 18th birthday a coven of witches comes to knock on her door.
Soleil is a witch, fated to kill the werewolves, what she doesn’t know is that her beloved Luca is a wolf and her mate, a mate she has to kill to break the ancient curse.
And in the background the dark one, an immense evil power lurks, and he has his eyes on Soleil.
This is a full series of 3 books in one … each New book starts with a chapter marked 1.
Warning: Every chapter starting with *The vampire* may contain violent murders and kinky sex
260 บท
I Was Driven to the Edge of Revenge After Being Disfigured by My Soon-to-be Stepmom Roommate
It was about time because my dad got a new girlfriend and said he wanted us to have a meal together to introduce the new woman into our lives.
On the day we met, my college roommate saw my chat background, which had a photo of me and my dad, along with a series of transfer records. She lost her mind.
She enlisted the support of our other roommates, who rarely paid me any attention and began to attack me, insisting that I was a side chick who deserved to die.
I did not expect that my roommate would soon become my stepmom. Before I could explain, she accused me of trying to seduce my dad behind her back, shouting, "Shameless side chick! Going behind my back to seduce my boyfriend! All those times you said you were out studying?! Who knows if you were just meeting up with him?"
I was once physically assaulted, stripped of my dignity, and forced to the restaurant for a public confrontation wearing ragged clothes.
Then my dad came running to where I was hardly breathing and barely moving on the floor, bruised to the extreme.
“Sweetheart, who did this to you?!”
10 บท
An Alpha for the Alpha
Jonas Whitepaw has always felt a little different, and he has accepted people commenting on his size and teasingly calling him a pretty boy. For despite being a future Alpha, he isn’t big or burly. Luckily for him, his handsome face and charms more than make up for his lack of size, at least with the ladies.
Without really being prepared, he is thrown into the job as Alpha when his father is killed by the feared rogue king Typhon Bloodclaw, also known as Cerberus.
Pushed by the pack and especially the Beta, Jonas decides to go and negotiate alone with the rogues when they abduct 4 Young girls, one of them Jonas' baby sister.
To his surprise, the rogue King is willing to let the girls go on one condition: Jonas takes their place.
What does the rogue King want with Jonas? Will he abuse him like the young Alpha fears? And what is the weird feeling Jonas gets when he is near Typhon? He can’t be attracted to a man, or can he?
57 บท
His Diary and My Choice
Leonard Burton and I are childhood sweethearts, bound by a family-arranged marriage.
After we marry, we live a loving, harmonious life. In a terrible accident, he even gives up his only chance at survival to save me.
After Leonard's death, we find a journal among his belongings.
In it, he records the three years he was missing after falling off a cliff—years spent with another woman he deeply loved.
But his parents had forcibly separated them and arranged our marriage instead.
Unbeknownst to anyone, he had continued to protect that woman from afar, silently and faithfully.
At the funeral, Leonard's mother, Charlotte Newman, is inconsolable. "Leonard, it's all my fault. Would you still be alive if I'd let you marry Yelena back then?"
His father, Samuel Burton, glares at me with hatred. "He fell off that cliff saving you. He died in that crash shielding you. Why do you bring him nothing but harm? Why aren't you the one who's dead?"
Yes, why is it not me who's dead?
I look at Leonard's familiar, smiling face on his gravestone before running at it and smashing my head on it.
When I open my eyes again, I'm taken back to when he just returned from that small fishing village.
This time, I choose to let him go and give him what he wants.
Finally, I see Leonard again.
9 บท
Some People Are Meant to Be Forgotten
I sustain brain damage from a car crash and end up with a memory akin to a goldfish. However, I remember my feelings for Caleb Warner for seven whole years.
Things change when he abandons me on a mountain top after losing a bet with someone. He sneers and says, "Write this in your journal, Sadie. Consider it a lesson learned."
It's wintertime, and it's freezing on top of the mountain. I almost die there.
I later destroy everything that has to do with Caleb and allow my memories of him to disappear from my mind.
…
One night, someone by the name of Caleb Warner calls me. My boyfriend jealously pulls me close and asks, "Who's this?"
I shake my head dazedly. "I don't know."
The person on the other end of the line loses it when he hears my answer.
12 บท
The kinky games they play
He snapped around, glaring at her, oh lord she looked sexy, wearing thigh high boots, a pleated mini skirt and a very tight white button down shirt, which was only sparsely buttoned to cover her breasts.
"Why don't you snap a picture it will last you longer and you can enjoy it when you are alone". She smirked as she twirled one of her braids around her hand.
Oh he would love to grab those braids, making her use that naughty mouth for something better.. f**k Sebastian snap out of it, he thought, she is so not your type. "If I wanna look at cheap whores the internet got a better selection".
Amber and Sebastian is both friends with Matt.. but just as he expected they are not getting along at all.. or is that just a cover for their attraction ? How with it all end when they get entagled in a bet ?
111 บท
What Filming Locations Did Babel Use In Morocco And Japan?
2 คำตอบ2025-08-31 23:14:22
I get a little giddy whenever the Morocco section of 'Babel' comes up in conversation — it’s one of those parts of a film that smells like dust and mint tea to me. The Moroccan sequences were shot in the High Atlas mountain regions and nearby rural areas, where the story follows two boys and their family. You can see the filmmakers leaning into the stark, beautiful contrast between dry, rocky passes and small Berber villages; that sense of isolation and tight-knit community is really anchored by shooting in actual mountain settlements rather than studio backlots. People often mention Ouarzazate and the surrounding areas as the sort of filmmaking hub for Morocco, and while the film uses a variety of small villages and mountain roads, the visual language strongly evokes the Tizi n’Tichka pass and the communities scattered along the High Atlas foothills. There are also desert-edge sequences and roadside vistas that look like the approach to southern towns — the kind of places where you’d find local markets, goats, and long stretches of sunbaked earth.
Visiting spots like that years after seeing the film, I was struck by how much the environment becomes a character: the narrow alleys, the rooftop views where people hang laundry, and the small cafés. If you’re a fan and you travel to Morocco, look for towns around Ouarzazate and routes into the High Atlas — you’ll recognize the terrain and some of the small architectural details. Local guides love to point out where filmmakers have worked, and some villages are proud of their brief cameo in international cinema. I also picked up tidbits from locals about how productions handle language and logistics there, which is always fun: a mix of translators, local fixers, and huge patience for unpredictable weather or road closures.
On the Japan side, 'Babel' shifts tone completely and the production moved into urban Tokyo to film the story of the mother and daughter. The Japanese scenes were shot around modern city neighborhoods — think the kind of dense streets, apartment blocks, and school settings you see in Shinjuku, Shibuya, and pockets of central Tokyo — places that convey anonymity and sensory overload. There are also quieter suburban or coastal moments that suggest areas in greater Tokyo or nearby Kanagawa prefecture, giving the daughter’s arc a different, more intimate feel. The contrast between Morocco’s sweeping landscapes and Tokyo’s claustrophobic urbanity is one of the film’s most memorable choices, and seeing both sets of locations makes the film feel globe-spanning in a very tactile way. If you love location hunting, plan for very different experiences: mountain passes and small-town hospitality in Morocco, vs. packed streets, neon, and compact apartments in Tokyo.
Does 'In Morocco' Have A Sequel Or Prequel?
1 คำตอบ2025-06-23 12:26:12
I’ve dug through every corner of the literary world trying to find more of 'In Morocco,' and honestly, it’s a standalone gem that doesn’t have any official sequels or prequels. Edith Wharton crafted this travelogue with such vivid detail about Morocco’s landscapes and culture that it feels complete on its own. The book immerses you in the early 20th-century Moroccan society, from the bustling markets to the quiet, sunlit courtyards, and it doesn’t leave gaps begging for continuation. Wharton’s prose is so rich that it almost feels like a sequel would dilute the magic—like trying to add another layer to a perfectly painted canvas. That said, if you’re craving more of her writing, her other works like 'The Age of Innocence' or 'House of Mirth' offer that same sharp observational style, though they dive into different settings and themes.
What’s fascinating is how 'In Morocco' stands apart from her fiction. It’s a snapshot of a moment in time, a cultural exploration rather than a narrative with loose ends. Some readers might wish for a sequel to revisit Morocco through her eyes decades later, but the book’s power lies in its singularity. It captures a Morocco on the cusp of change, and that’s something a sequel might struggle to replicate. If you’re looking for something similar, Paul Bowles’ 'The Sheltering Sky' or Tahir Shah’s travel writings might scratch that itch, though they’re not direct continuations. Wharton’s work is a masterpiece precisely because it doesn’t overstay its welcome—it leaves you longing for more, but in the best way possible.
Who Is The Protagonist In 'In Morocco'?
5 คำตอบ2025-06-23 02:56:58
The protagonist of 'In Morocco' is a fascinating figure who embodies the spirit of exploration and cultural immersion. This character isn’t just a passive observer but actively engages with the rich tapestry of Moroccan life, from the bustling markets to the serene landscapes. Their journey is as much about self-discovery as it is about understanding the complexities of Moroccan society. The narrative delves into their interactions with locals, revealing layers of tradition, conflict, and beauty.
What makes this protagonist stand out is their nuanced perspective. They don’t romanticize or criticize Morocco but present it through a lens of genuine curiosity and respect. Their experiences—whether navigating political tensions or savoring local cuisine—paint a vivid picture of a land at the crossroads of history and modernity. The protagonist’s voice is both reflective and engaging, making 'In Morocco' a compelling read for anyone interested in travel literature or cultural studies.
Is 'In Morocco' Based On A True Story?
3 คำตอบ2025-06-24 02:23:20
I've read 'In Morocco' several times, and while it's not a documentary, it's deeply rooted in real experiences. Edith Wharton wrote it after her travels through Morocco in 1917, during World War I. The book captures the country's landscapes, architecture, and culture with vivid detail, blending her personal observations with historical context. It's not a fictional story but rather a travelogue, so it doesn't have invented characters or plots. Instead, Wharton describes real places like Fez and Marrakech, offering insights into Moroccan society at the time. If you're looking for a pure novel, this isn't it, but if you want an authentic glimpse into early 20th-century Morocco through a sharp observer's eyes, it delivers brilliantly.
How Does 'In Morocco' Portray Moroccan Culture?
3 คำตอบ2025-06-24 18:38:13
As someone who's traveled extensively, 'In Morocco' struck me with its vivid portrayal of Moroccan culture through sensory overload. The markets burst with colors—saffron, cobalt, emerald—while the air carries overlapping scents of mint tea, leather, and spices. The book captures how time moves differently there, with siestas breaking the day into languid halves and nights alive with storytelling in riads. What fascinated me most was the depiction of hospitality traditions, where sharing food isn't just politeness but sacred duty. The layered architecture mirrors societal hierarchies, from bustling medinas to secluded courtyards where women govern domestic spheres. The author nails how Islam permeates daily rhythms without dominating every interaction, showing prayers coexisting with haggling merchants and children's laughter.
Where Was The Bourne Identity Filmed In Paris And Morocco?
9 คำตอบ2025-10-22 02:44:39
Walking the streets of Paris after watching 'The Bourne Identity' feels like treasure hunting — you start recognizing corners and thinking about camera angles. A lot of the Paris sequences were shot on location in central Paris: the filmmakers used the Latin Quarter and areas along the Seine, with scenes around Île de la Cité and the bridges near Pont Neuf. You can spot narrow, bustling streets that give the chase scenes their claustrophobic energy, and parts around Rue de Rivoli and the banks of the Seine were definitely used for the street-level pursuit moments.
Over in Morocco the production moved to classic Moroccan settings to stand in for Mediterranean ports and older North African towns. Tangier’s medina and waterfront were used for the harbor/market sequences, and the production also filmed in the Ouarzazate region — Atlas Studios and nearby kasbahs are typical backdrops for the more desert-y or fortified townscapes. If you’re planning a little pilgrimage, wandering the Tangier medina or visiting Atlas Studios near Ouarzazate gives you that cinematic vibe. I always smile spotting a movie-shot alley while sipping coffee in Paris — it feels like being inside a scene.
What Is The Main Conflict In 'In Morocco'?
5 คำตอบ2025-06-23 20:47:11
The main conflict in 'In Morocco' revolves around cultural clashes and the tension between tradition and modernity. The protagonist, often an outsider, navigates a world where Moroccan customs and Western expectations collide. This isn't just about personal adaptation—it's a deeper struggle where colonial influences, local resistance, and the weight of history shape every interaction. The vivid descriptions of markets, rituals, and landscapes aren't just backdrop; they mirror the friction between preserving identity and embracing change.
The book also delves into internal conflicts, like the protagonist's moral dilemmas when faced with poverty or gender inequalities. Some scenes highlight the stark contrast between romanticized European views of Morocco and its gritty realities. The conflict isn't neatly resolved, leaving readers to ponder whether understanding can ever bridge such divides. It's a raw, immersive exploration of place and perspective.
What Year Is 'In Morocco' Set In?
1 คำตอบ2025-06-23 11:04:15
I’ve always been fascinated by Edith Wharton’s travel writing, and 'In Morocco' is this vivid, almost cinematic snapshot of her journey through a place that felt both ancient and alive. The book was published in 1920, but it’s set during her actual trip in 1917, right in the thick of World War I. That timing adds such a unique layer to the whole thing—Morocco was under French colonial rule then, and Wharton’s observations weave together the beauty of the landscapes with these subtle, sharp notes about power and cultural clashes.
What’s wild is how she captures the era without hammering you over the head with dates. You get the sense of a world on the brink of change: the sultans’ palaces still dripping with mosaics, the bustling markets where European influence creeps in, and the quiet resilience of local traditions. She describes Fez and Marrakech with this painter’s eye, but also doesn’t shy away from the grit—like the forced labor she glimpses or the way colonialism stains even the prettiest scenes. The year 1917 isn’t just a backdrop; it’s this invisible character shaping every interaction she has, from the French officers’ arrogance to the Moroccans’ guarded hospitality. It’s less a history book and more a time capsule, cracked open to let you smell the spices and feel the desert heat.
I love how Wharton’s voice shifts between awe and critique. One minute she’s raving about the Atlas Mountains at sunset, the next she’s side-eyeing the colonial administration’s hypocrisy. The book doesn’t romanticize the era, but it doesn’t drown in gloom either. You finish it feeling like you’ve time-traveled—not to a textbook version of 1917, but to the messy, vibrant reality of a country caught between its past and someone else’s idea of progress. If you’re into travelogues with teeth, this one’s a masterpiece.
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