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Sometimes a good-bye is just the beginning? When Emily Carson?s parents die in a plane crash, she?s left with nothing but her mother?s last words scrawled in lipstick on a tray table: ?Emily, please forgive me.? Now it?s fall and Emily moves to New York City? where she attracts the attention of two very different boys: the cute, popular Owen, and her quirky chemistry partner, Anthony. With the help of some surprising new friends, Emily must choose between the boy who helps her forget and the one who encourages her to remember, and ultimately heal. Debut author Jennifer Jabaley has written a wonderful, feel-good romantic comedy with real emotional depth. Full of lovably wacky characters, Lipstick Apology is a heartwarming story about the true meaning of forgiveness.
Willow has spent most of her life as her mother's sidekick in a popular Las Vegas hypnotism show. So when she and her mom move back to their sleepy southern hometown to start over, she thinks she's in for a life of quiet normalcy. Except that her new life turns out to be anything but, when she kinda sorta hypnotizes Quinton, the hottest guy on the football team, to fall madly, deeply, head over heels in love with her. But what started out as an innocent way to make her best friend, Max, jealous soon gets way out of hand, and Willow begins to wonder if the mind - and more importantly, the heart - is something you can really control.
This book edited by Jérôme Sans draws a Lipstick panorama within the world of contemporary art photography. Fully illustrated it is conceived as a magazine or a rhapsody without any beginning or end. Throughout the pages unfurls a new history of the relationship with Lipstick. A story that shows how this feminine symbol with particular flavor has pervaded our culture and its imagery. The book brings together more than 40 international artists and their work from Andy Warhol's self-portrait to intimate pictures of Araki and Nan Goldin, collapsed compositions of Maurizio Cattelan and Pier Paolo Ferrari. Sublimed, made-up, eroticized, parodied ... these traces of contemporary cult accoutrement has become an iconic element of contemporary values. A sexy book to be kissed.
From the New York Times bestselling author and former beauty editor Cat Marnell, a “vivid, maddening, heartbreaking, very funny, chaotic” (The New York Times) memoir of prescription drug addiction and self-sabotage, set in the glamorous world of fashion magazines and downtown nightclubs. At twenty-six, Cat Marnell was an associate beauty editor at Lucky, one of the top fashion magazines in America—and that’s all most people knew about her. But she hid a secret life. She was a prescription drug addict. She was also a “doctor shopper” who manipulated Upper East Side psychiatrists for pills, pills, and more pills; a lonely bulimic who spent hundreds of dollars a week on binge foods; a promiscuous party girl who danced barefoot on banquets; a weepy and hallucination-prone insomniac who would take anything—anything—to sleep. This is a tale of self-loathing, self-sabotage, and yes, self-tanner. It begins at a posh New England prep school—and with a prescription for the Attention Deficit Disorder medication Ritalin. It continues to New York, where we follow Marnell’s amphetamine-fueled rise from intern to editor through the beauty departments of NYLON, Teen Vogue, Glamour, and Lucky. We see her fight between ambition and addiction and how, inevitably, her disease threatens everything she worked so hard to achieve. From the Condé Nast building to seedy nightclubs, from doctors’ offices and mental hospitals, Marnell “treads a knife edge between glamorizing her own despair and rendering it with savage honesty.…with the skill of a pulp novelist” (The New York Times Book Review) what it is like to live in the wild, chaotic, often sinister world of a young female addict who can’t say no. Combining “all the intoxicating intrigue of a thriller and yet all the sobering pathos of a gifted writer’s true-life journey to recover her former health, happiness, ambitions, and identity” (Harper’s Bazaar), How to Murder Your Life is mesmerizing, revelatory, and necessary.
The astonishing, powerful debut by the winner of a 2016 Whiting Writers' Award WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics. —from “WHEREAS Statements” WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.
Torie Clarke, renowned and respected in political and business circles as one of the nation's most gifted communicators, offers a complete guide to the new age of transparency. Clarke's message is refreshing and straightforward: No more spin. Always a dubious proposition, spin has become increasingly vulnerable as information sources have proliferated; spin is simply no longer viable. Or put another way, "You can put lipstick on a pig, but it's still a pig." Distilling her twenty-five years of experience and wisdom into eight concise rules, Clarke counsels that politicians and executives need to tell the truth early, often, and in plain language. Clarke's experience is incomparable: She was the Pentagon's communications chief during the early years of George W. Bush's presidency and, prior to that, a high-ranking adviser to the first President Bush and to Senator John McCain. She illustrates her lessons with riveting behind-the-scenes accounts of some of our country's crucial moments over the last two decades -- for instance, as Assistant Secretary of Defense for Public Affairs under Defense Secretary Donald Rumsfeld, she was at the Pentagon on September 11, 2001, and she recounts her experience that day as Rumsfeld's office strove to inform, instruct, and reassure the public. Clarke shows that a policy of transparency not only protects you, but that you even stand to gain from it -- because once you figure out that you can't put lipstick on a pig, you've actually learned something far more powerful: not to create a pig in the first place. Her lessons for getting your message out include: Tell your own story -- especially if it's bad news -- on your own terms, before someone else tells it on theirs. It will allow you to survive controversy and will also enhance your reputation. It's about one thing. Be ready and able to explain yourself to the proverbial man on the street in a clear, simple sentence or two. Admit your mistakes, because the truth will out. Entertaining, approachable, and full of crucial insight and practical guidance, Lipstick on a Pig will be indispensable for business leaders, public figures, and anyone working in media relations. With humor and savvy, Clarke's vision offers truly new opportunities for communications in the Information Age.
ALICE FEENEYS NEW YORK TIMES AND INTERNATIONAL BESTSELLER “Boldly plotted, tightly knotted—a provocative true-or-false thriller that deepens and darkens to its ink-black finale. Marvelous.” —AJ Finn, author of The Woman in the Window My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?
A New York Times bestseller! The second book in the Sands of Arawiya duology by the masterful Hafsah Faizal—the follow-up to the smash New York Times bestselling novel We Hunt the Flame. Darkness surged in his veins. Power bled from her bones. The battle on Sharr is over. The Arz has fallen. Altair may be captive, but Zafira, Nasir, and Kifah are bound for Sultan’s Keep, determined to finish the plan Altair set in motion: restoring the hearts of the Sisters of Old to the minarets of each caliphate, finally bringing magic to all of Arawiya. But they are low on resources and allies alike, and the kingdom teems with fear of the Lion of the Night’s return. As the zumra plots to overthrow Arawiya’s darkest threat, Nasir fights to command the magic in his blood. He must learn to hone his power, to wield it against not only the Lion but his father as well, trapped under the Lion’s control. Zafira battles a very different darkness festering in her through her bond with the Jawarat—it hums with voices, pushing her to the brink of sanity and to the edge of a chaos she dares not unleash. In spite of everything, Zafira and Nasir find themselves falling into a love they can’t stand to lose . . . But time is running out, and if order is to be restored, drastic sacrifices will have to be made. Lush and striking, hopeful and devastating, We Free the Stars is the masterful conclusion to the Sands of Arawiya duology by New York Times–bestselling author Hafsah Faizal.
The Body Is Not an Apology The Power of Radical Self-Love Against a global backdrop of war, social upheaval, and personal despair, there is a growing sense of urgency to challenge the systems of oppression that dehumanize bodies and strip us of our shared humanity. Rather than feel helpless in the face of oppression, world-renowned activist, performance poet, and author Sonya Renee Taylor teaches us how to turn to the power of radical self-love in her new book, The Body Is Not an Apology. Radical self-love is the guiding framework that transforms the learned self-hatred of our bodies and the prejudices we have about other people's bodies into a vision of compassion, equity, and justice. In a revolutionary departure from the corporate self-help and body-positivity movement, Taylor forges the inextricable bond between radical self-love and social justice. The first step is recognizing that we have all been indoctrinated into a system of body shame that profits off of our self-hatred. When we ask ourselves, "Who benefits from our collective shame?" we can begin to make the distinction between the messages we are receiving about our bodies or other bodies and the truth. This book moves us beyond our all-too-often hidden lives, where we are easily encouraged to forget that we are whole humans having whole human experiences in our bodies alongside others. Radical self-love encourages us to embark on a personal journey of transformation with thoughtful reflection on the origins of our minds and bodies as a source of strength. In doing this, we not only learn to reject negative messages about ourselves but begin to thwart the very power structures that uphold them. Systems of oppression thrive off of our inability to make peace with bodies and difference. Radical self-love not only dismantles shame and self-loathing in us but has the power to dismantle global systems of injustice-because when we make peace with our bodies, only then do we have the capacity to truly make peace with the bodies of others
"Lele is a bulls-eye target at her new school in Miami until, overnight, her digital fame catapults the girl with cheerleader looks, a seriously silly personality, and a self-deprecating funny bone into the popular crowd. Now she's facing a whole new set of challenges--the relentless drama, the ruthless cliques, the unexpected internet celebrity--all while trying to keep her grades up and make her parents proud"--