Mona is twenty-three, emotionally adrift and cleaning houses to get by. While handing out clean needles to drug addicts, she falls for a man she calls Mr Disgusting, who proceeds to break her heart in unimaginable ways. In search of healing, she decamps to New Mexico for a fresh start, but always lurking just beneath the surface are the ghosts of her past, and the crushing legacy of a chaotic, destructive childhood. It seems running further away from her problems could just leave more inventive ways for them to find her.
pretend im dead
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Sharman's getting married, and down at the nick they're taking bets on how long it's going to last. His new wife, Dawn (the ex-stripper), isn't going to settle for little woman status - she's got her eye on those mean streets - and Sharman's going to need all the help he can get. He's received a call from an American record company who have a letter from a rock star who's been dead for 20 years - and wants his royalties...
Sometimes when there is so much suffering in a persons life and nothing seems to turn out the way one plans, then it becomes easy to just give up on believing that there is a God in heaven who loves us and cares about our success. What we dont understand is that when we first give our lives to God, we agree to die. We agree to allow God to order the steps of our lives so that He can cause our destiny to fit His plans. That dying is very difficult, particularly when we dont understand it. This book is about the dyingand the coming to understand why it must happen.
Maddie Mulhern is suddenly in charge. Her parents - former 80s pop duo Pineapple Mist - have left for the summer on a nostalgia tour, entrusting her to manage their struggling karaoke bar, Sing It Back. Panicking over the dodgy finances, Maddie takes a gamble: she signs up for a fly-on-the-wall reality TV series. With her faithful staff (divalicious drag queen Ruby, shy barman Simon and wannabe actress Jasmine) she'll transform the bar into a huge success. Simple. Right? Executive Producer Evan Bergman knows that scandal sells. It's no coincidence that he hires cool, attractive Nick Craven as director. Evan wants drama on screen - and he'll do anything to get it. As the series builds to a live finale, will Maddie see the truth in a Careless Whisper? Will Nick be able to keep his Poker Face? One thing's for sure: we all do things at karaoke that we regret . . .
Most books on terminal illness focus on death and dying. This book is about neither. It doesn't deal with statistics or the medical aspects of a crippling disease, and it isn't written by a celebrity about their amazing recovery. This book is about a real person and a true hero. Bob Horn, an authority on the Soviet Union and foreign policy in the Third World, a successful author and teacher, an involved husband and father of three in his mid-forties, awoke one day to find his entire world upside down. Diagnosed in 1988 with ALS (amyotrophic lateral sclerosis), better known as Lou Gerhig's disease, Bob had to deal with the reality that his situation was terminal. How Bob and his family coped and continue to cope or "battle" as Bob prefers to call it with disability and terminal illness is an amazing story that you will find inspiring, heartwarming, humorous, upsetting, and a celebration of the triumph of life. Having already beaten the odds that say he should have died years ago, Bob accomplished the most unbelievable feat he wrote this book. It was discovered that Bob had a pulse in his right foot that could be felt and manipulated. By hooking his foot up to a computer, Bob found he could maneuver the cursor and produce documents. He has written articles for the Los Angeles Times, sermons for his church, correspondence, and most impressive of all this book. Not bad for a man who is completely paralyzed and hasn't moved in six years!
The town has lost its famed falafel king, but the Dadon family have also lost a father and husband. Living with the daily threat of Katyusha missiles from neighbouring Lebanon, and struggling to survive amid the rubble of their lives, Simona and her three children each find their own way of coping with their grief, their fear and their hopes. Raw, lyrical, shocking and moving, Sara Shilo's powerful debut novel recounts the life of an ordinary Israeli family over the course of a single, extraordinary day in prose that we have never before encountered in contemporary Hebrew literature.
In Pretend We’re Dead, Annalee Newitz argues that the slimy zombies and gore-soaked murderers who have stormed through American film and literature over the past century embody the violent contradictions of capitalism. Ravaged by overwork, alienated by corporate conformity, and mutilated by the unfettered lust for profit, fictional monsters act out the problems with an economic system that seems designed to eat people whole. Newitz looks at representations of serial killers, mad doctors, the undead, cyborgs, and unfortunates mutated by their involvement with the mass media industry. Whether considering the serial killer who turns murder into a kind of labor by mass producing dead bodies, or the hack writers and bloodthirsty actresses trapped inside Hollywood’s profit-mad storytelling machine, she reveals that each creature has its own tale to tell about how a freewheeling market economy turns human beings into monstrosities. Newitz tracks the monsters spawned by capitalism through b movies, Hollywood blockbusters, pulp fiction, and American literary classics, looking at their manifestations in works such as Norman Mailer’s “true life novel” The Executioner’s Song; the short stories of Isaac Asimov and H. P. Lovecraft; the cyberpunk novels of William Gibson and Marge Piercy; true-crime books about the serial killers Ted Bundy and Jeffrey Dahmer; and movies including Modern Times (1936), Donovan’s Brain (1953), Night of the Living Dead (1968), RoboCop (1987), The Silence of the Lambs (1991), and Artificial Intelligence: AI (2001). Newitz shows that as literature and film tell it, the story of American capitalism since the late nineteenth century is a tale of body-mangling, soul-crushing horror.
The Collaborative Construction of Pretend explores the origins and development of social pretend play in children. It begins with the infants first attempts to play pretend with an adult; discusses the beginnings of toddler pretend with peers; and investigates the fully developed social play of preschool and school age children. The author argues that social pretend play can fulfill several different developmental functions and that these functions change with development. Each of these functions are rooted in the individual development of the child and in the social context. Thus the book looks at developmental progressions not only in the forms of social pretend play but in the meaning of the play to the child.
It's 1903. Nora Kelly, twenty-four, is talented, outspoken, progressive, and climbing the ladder of opportunity, until she falls for an attractive but dangerous man who sends her running back to the Old World her family had fled. Nora takes on Paris, mixing with couturiers, artists, and "les femmes Americaines" of the Left Bank such as Gertrude Stein and Sylvia Beach. But when she stumbles into the centuries-old Collège des Irlandais, a good-looking scholar, an unconventional priest, and Ireland's revolutionary women challenge Nora to honor her Irish blood and join the struggle to free Ireland. Author Mary Pat Kelly weaves historical characters such as Maud Gonne, William Butler Yeats, Countess Markievicz, Michael Collins, and Eamon de Valera, as well as Gabrielle Chanel, Gertrude Stein, James Joyce, and Nora Barnicle, into Of Irish Blood, a vivid and compelling story inspired by the life of her great-aunt. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
After a long series of professional failures, the last one costly, Louise Christys life is finally on track with the sudden success of her newly established business, a very special perfume shop. But within weeks, her triumph is stubbed out by her brother, who informs her that her spectacular turnover is due to something else: Her favorite shop clerk, the extraordinary Toko, is exhibiting herself in the shop windows mornings when she has the shop to herself. Unable to believe the outrageous news and incapable of spying on her favorite girl to verify it, Louise hires homely, slow-moving Jane, not to be shop manager as her ad indicates, but scarecrow: Posted in the shop mornings, Jane is to ward off illicit conduct that could be damaging to Ms Christys yields. For her part, Jane is determined to do everything she can to establish credibility with her new employer and secure her cushy, do-nothing job in the glamorous business world. The circumstances spell near disaster for the well-meaning proprietress.