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The cat gets nine lives. David gets one. And time is running out for both of them.David Peeler, a sculptor poised for a brilliant career and an equally anticipated marriage, loses it all at the point of a knife.In a last-ditch effort to find a gleam of his former sparkle, David attends an artist retreat where he enjoys the companionship of Muse, the resident tabby.Until someone kills the cat.Proving who did it may be the key to a new life for David, if he can solve her murder before he shares her fate.If you love crime stories with a puzzle to solve, grab Death of a Muse today.Watch the trailer on the Joslyn Chase YouTube channel! OR For an audio sample of this book, visit https: //joslynchase.com/audio-samples-full-length-stories/
I always imagined Death's final kiss would be cold. It wasn't. Four years later, I can still remember the exact shade of his skin: a blue so pale it looked like moonlight. I dream of his touch. Mostly, I paint the man under the heavy cowl, including those perfect lips which ruined mine for anyone else. I'm obsessed with him. The doctors say he's nothing more than a hallucination caused by a mixture of head trauma and emergency pain medications. I think he's a really sexy figment of my imagination. I mean, who besides an artist would dream up the Grim Reaper for their hero?Now, something's changed and my drawings are taking on a life of their own. As if college wasn't hard enough, trying to keep this a secret is going to be impossible. Keeping my sanity might be worse. And that's not the worst of my problems.Death is back. He wants another kiss.And he's not alone.The Kiss of Death is a 156,000 word, full-length novel with NO cliffhanger ending. This is a Reverse Harem series which includes multiple love interests, some m/m themes, and graphic scenes of sex, violence, and language. Be warned: everything you thought you knew about the world, religion, and death will be pulled apart, twisted around, and put back together in ways you will not expect.
If cats get nine lives, Muse burned through eight of hers by the time she met David Peeler. And David made a hash of the one life allotted to him. The pair of them are on the way out. But Muse goes first, and the death of the cat holds the key to a new life for David. If he can prove who murdered her before he shares her fate. For an audio sample of this book, visit https://joslynchase.com/audio-samples-full-length-stories/
Part 1: The Muse is DEAD! Long live the Muse! Or so say the headlines. But like any good reporter sometimes the best news is the news you make happen. For years, the 10th Muse has fought a variety of evil in the name of justice, but she has never battled the media! If the future is written, the Muse is a dead woman and there is nothing the gods can do about it. In the bigger-than-life series finale, Emma Sonnet encounters her final destiny...but will it mean her death? This is a giant-sized 44-page roller coaster ride that will keep fans on the edge of their seat until the very last page! Part 1: The Muse is DEAD! Long live the Muse! Or so say the headlines. But like any good reporter sometimes the best news is the news you make happen. For years, the 10th Muse has fought a variety of evil in the name of justice, but she has never battled the media! If the future is written, the Muse is a dead woman and there is nothing the gods can do about it. In the bigger-than-life series finale, Emma Sonnet encounters her final destiny...but will it mean her death? This is a giant-sized 44-page roller coaster ride that will keep fans on the edge of their seat until the very last page!
In 1846, Edgar Allen Poe wrote that 'the death of a beautiful woman is, unquestionably, the most poetic topic in the world'. The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs. The argument that this book presents is that narrative and visual representations of death can be read as symptoms of our culture and because the feminine body is culturally constructed as the superlative site of "other" and "not me", culture uses art to dream the deaths of beautiful women.
The oldest Islamic biography of Muhammad, written in the mid-eighth century, relates that the prophet died at Medina in 632, while earlier and more numerous Jewish, Christian, Samaritan, and even Islamic sources indicate that Muhammad survived to lead the conquest of Palestine, beginning in 634-35. Although this discrepancy has been known for several decades, Stephen J. Shoemaker here writes the first systematic study of the various traditions. Using methods and perspectives borrowed from biblical studies, Shoemaker concludes that these reports of Muhammad's leadership during the Palestinian invasion likely preserve an early Islamic tradition that was later revised to meet the needs of a changing Islamic self-identity. Muhammad and his followers appear to have expected the world to end in the immediate future, perhaps even in their own lifetimes, Shoemaker contends. When the eschatological Hour failed to arrive on schedule and continued to be deferred to an ever more distant point, the meaning of Muhammad's message and the faith that he established needed to be fundamentally rethought by his early followers. The larger purpose of The Death of a Prophet exceeds the mere possibility of adjusting the date of Muhammad's death by a few years; far more important to Shoemaker are questions about the manner in which Islamic origins should be studied. The difference in the early sources affords an important opening through which to explore the nature of primitive Islam more broadly. Arguing for greater methodological unity between the study of Christian and Islamic origins, Shoemaker emphasizes the potential value of non-Islamic sources for reconstructing the history of formative Islam.
From the publisher of Farrar, Straus and Giroux: a first novel, at once hilarious and tender, about the decades-long rivalry between two publishing lions, and the iconic, alluring writer who has obsessed them both. Paul Dukach is heir apparent at Purcell & Stern, one of the last independent publishing houses in New York, whose shabby offices on Union Square belie the treasures on its list. Working with his boss, the flamboyant Homer Stern, Paul learns the ins and outs of the book trade—how to work an agent over lunch; how to swim with the literary sharks at the Frankfurt Book Fair; and, most important, how to nurse the fragile egos of the dazzling, volatile authors he adores. But Paul’s deepest admiration has always been reserved for one writer: poet Ida Perkins, whose audacious verse and notorious private life have shaped America’s contemporary literary landscape, and whose longtime publisher—also her cousin and erstwhile lover—happens to be Homer’s biggest rival. And when Paul at last has the chance to meet Ida at her Venetian palazzo, she entrusts him with her greatest secret—one that will change all of their lives forever. Studded with juicy details only a quintessential insider could know, written with both satiric verve and openhearted nostalgia, Muse is a brilliant, haunting book about the beguiling interplay between life and art, and the eternal romance of literature.
The Man Who Would Be Satan Parry was a gifted musician and an apprentice in the arts of White Magic. But his life of sweet promise went disastrously awry following the sudden, violent death of his beloved Jolie. Led down the twisted path of wickedness and depravity by Lilah the harlot demoness, Parry thrived -- first as a sorceror, then as a monk, and finally as a feared inquisitor. But it wasn't until his mortal flame was extinguished that Parry found his true calling -- as the Incarnation of Evil. And, at the gates of Hell, he prepared to wage war on the master himself -- Lucifer, the dark lord -- with dominion over the infernal realms the ultimate prize!
This study uses photography to recreate classical images of women with the goal of repersenting the women as subjects rather than objects.
A comprehensive study of ephemera in twentieth-century literature—and its relevance to the twenty-first century “Nothing ever really disappears from the internet” has become a common warning of the digital age. But the twentieth century was filled with ephemera—items that were designed to disappear forever—and these objects played crucial roles in some of that century’s greatest works of literature. In The Death of Things, author Sarah Wasserman delivers the first comprehensive study addressing the role ephemera played in twentieth-century fiction and its relevance to contemporary digital culture. Representing the experience of perpetual change and loss, ephemera was central to great works by major novelists like Don DeLillo, Ralph Ellison, and Marilynne Robinson. Following the lives and deaths of objects, Wasserman imagines new uses of urban space, new forms of visibility for marginalized groups, and new conceptions of the marginal itself. She also inquires into present-day conundrums: our fascination with the durable, our concerns with the digital, and our curiosity about what new fictional narratives have to say about deletion and preservation. The Death of Things offers readers fascinating, original angles on how objects shape our world. Creating an alternate literary history of the twentieth century, Wasserman delivers an insightful and idiosyncratic journey through objects that were once vital but are now forgotten.