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Prudence and Robin Tremaine are a brother and sister fleeing to London, and because Robin was involved in the Jacobite rebellion on the wrong side, they disguise themselves-- the tall Prudence pretends to be a young man, and the slight, elegant, talented actor Robin pretends to be the sister. On their way to London, they run into flighty young Letitia, who is eloping with a man because she thought it would be quite an adventure, but he turns out to be rather a brute and after her money. Robin and Prudence manage to rescue her shortly before Letitia's family friend, Anthony Fanshawe comes to help her-- a man so large that Robin teasingly calls him "the mountain" to his sister (a man large enough for so tall a girl). Anthony takes the young lad (Prudence) under his wing when they go to London, introducing him around and sponsoring him at the gentleman's club; meanwhile, Robin and Letitia become rather intimate friends (Robin has fallen in love with the silly girl, so on a few occasions-- like a masked ball-- he manages to be her mysterious, romantic hero). Eventually, Prudence and Robin's father comes to town-- he's an adventurer and master of disguise, and perhaps a bit of a con man, so even they aren't sure whether or not they can believe him when he claims to be the long lost son and heir to a nearby estate.

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This book is somewhat of a sequel to These Old Shades (which I read recently), as it follows Dominic Alastair, Marquis of Vidal. The "cub" of the title, he is the son of the Duke of Avon (who was known as "Satanas" to some, hence the title) and the fiery Leonie, and Heyer presents Vidal as a pretty believable mixture of his parents. He has his father's lack of morals and devil-may-care attitude, but he has his mother's quick temper instead of his father's subtlety and deviousness. He gets in a bit of trouble because he wounds someone in a duel-- and, what apparently makes it worse, he didn't even bother to go through the proper forms, but had the duel right then and there in the house where they were gambling. His father is quite angry with him and decides to send him to France, but this is mostly because Leonie is upset rather than that Vidal may have killed a man. Since Vidal is used to having pretty much whatever he wants, he decides to take along with him the pretty bourgeoisie girl who he has been flirting with-- but, of course, things don't go exactly as planned.

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One night as Justin Alastair, Duke of Avon is walking through the streets of Paris, he collides with a poor young red-headed boy running from his rough older brother. On a bit of a whim, because something about the child's Titian hair and blue eyes reminds him of an enemy, Alastair buys the lad from the older brother and makes the child, Léon, his page. Alastair has quite the reputation for his cunning and lack of morals, such that he is known by some as "Satanas", and his good friend Hugh Davenant disapproves of Alastair taking this child with him everywhere, even serving him at gambling houses and other places of ill-repute. Of course, there is a great mystery about Léon, and it turns out to be quite an interesting story-- and the audience gets to be at least partly in on Alastair's knowledge and plans long before the other characters in the book.

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Jernau Morat Gurgeh is one of the best game players in The Culture, a space-faring society of advanced "genofixed" humans and artificially intelligent machines - he is such a gamer that he has taken the name "Morat", meaning game-player or player of games. But he's a little bit bored with his life-- nothing is that challenging or engaging anymore-- and his old family friend, the drone Chamlis Amalk-ney, offers to ask Contact to see if there might be something interesting he could do. When they do come up with an offer, it involves considerable travel, and Gurgeh is rather a home-body, preferring not to leave his home orbital, so he turns them down. However, not long after, he is manipulated by the rogue drone Mawhrin-Skel (who was intended for the Special Circumstances branch of Contact but then deemed unfit), and he is black-mailed and maneuvered into accepting the offered task that Contact had suggested, which involves traveling to a remote civilization where their society is obsessed with and run by a complicated strategy game called Azad.

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A young girl in a lonely part of Montana buries her younger brother, who had been the last living member of her family, says the prayer her mother said over the other family graves, and then sets out on horseback by herself fleeing from the rough young men her brother had been hanging out with-- in particular their leader, the man she suspects killed her brother, and who wants to claim her for himself. On her second day of travel, she sees another man on horseback pursuing her, and she flees him as well because her mother had told her all men are the same, dangerous drunks. While she sleeps, the man catches up to her-- but he is in fact a city boy who had come out West with some friends to get away from his troubles (the society girl he was in love with wouldn't have him), and he had gotten separated from his party and lost in the wilderness. She has some food and the survival skills to get them through to civilization, and when he hears her story of the man she is running from, he naturally wants to help and protect her. They travel together for a while, once even drawn to a Christian Endeavor meeting by the music, which keeps them hidden from the ruffians who go by while they are inside, and the girl is encouraged by words from scripture of the religion she had scarcely known anything of. They make it safely to a city big enough to have a train station and the young man, George, learns via telegram that his mother is seriously ill, so he sells his horse and returns-- he encourages his young friend, who he has come to admire, to come with him, but she refuses because she believes he is promised to another, and a kind woman at a farm where they stayed overnight had told her it wasn't proper to travel alone with a man. They go their separate ways, and he only knows her first name-- Elizabeth.

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Sir Tristram Shield comes to visit his dying uncle Sylvester, the Lord of Lavenham, and since it is Sylvester's wish, Tristram agrees to marry his younger, half-French cousin Eustacie. Tristram is a practical, unromantic kind of gentleman, so to Eustacie he seems completely unfeeling when he won't follow along in her flights of fancy at how sorry he should feel to see her going to the guillotine wearing a white dress (she was brought out of France long before there was any danger of that), or when she asks him to ride at full-speed to her deathbed when she dies in childbirth-- he replies quite practically that he wouldn't go out on such an occasion, but this doesn't suit Eustacie at all. Quite quickly, Eustacie convinces herself and her maid that she will be completely miserable married to Tristram (she's probably right-- and she would likely make him miserable as well), so she decides to run away and become a governess (her only qualification for such a job is that she speaks French). As she makes her way out in the night, she runs into a group of smugglers (or "free-traders")-- and their leader is, of course, her disgraced cousin Ludovic Lavenham, heir to Sylvester. Everyone assumed he had fled the country due to the suspicion that he murdered a man who took a family heirloom, a talisman ring, in payment for gambling debts and then would not return it. When Ludovic, Eustacie, and Tristram all end up together again and Tristram and Ludovic finally believe each other that neither of them killed the man, they set about finding the person who did-- and in particular, finding the talisman ring that will clear Ludovic's name.

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14-year-old Sophie Amundsen is a normal school-girl who discusses normal school-girl things with her friend Joanna-- until she gets an unusual note in her mailbox, which begins her on a course of studying the history of philosophy with her equally unusual teacher, Alberto Knox. The first few lessons begin with thought-provoking questions like who are you? and where does the world come from?, or why is the Lego the most ingenious toy in the world?. These simple questions get Sophie to wondering, and then are usually followed up by a lesson-- initially in written form, later on via in-person discussions with Alberto Knox. In addition, to the philosophy course, Sophie starts finding postcards and other things that belong to a girl she's never heard of, Hilde Moller Knag-- and something about the postcards doesn't quite add up (they are sent from Lebanon but apparently took no time to get to Norway, Hilde's birthday is the same as Sophie's, Sophie is being relied upon to deliver the postcards, etc.). About half-way through the book, when Sophie and Alberto are discussing the philosophy of Berkeley (who believed that the only thing we could be certain of were our perceptions and not physical reality, and thus we exist in the mind of God), they discover that they (Sophie and Alberto) are characters in a book that Major Knag is writing for his daughter Hilde-- so they exist only in his and Hilde's imaginations.

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I read this for church, which is a little weird to begin with (it's odd to hear sermons connected or organized based on anything other than the Good Book), and I found it so poorly written and edited that I really struggled with finding much of anything that was spiritually valuable. The basic premise is that Christians have gotten so accustomed to living in the day-to-day life of the world that we've lost sight of the larger Kingdom that we have been invited to be a part of. Tripp expresses this repeatedly by saying that we have shrunk "the size of our lives to the size of our lives", which doesn't work for me because it just seems like a nonsensical tautology. It finally occurred to me that the poor writing is, in part, due to the use of a rhetorical preaching style (which at times shifts into an almost colloquial, conversational style), so that the words on the page might actually communicate something meaningful if they were spoken aloud and accompanied by gestures and facial expressions.

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