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1 DOWN: A PERSON OF INTEREST Quinn Carr has been quietly creating crosswords for the Chestnut Station Chronicle in her small Colorado town since she was in high school, but she has yet to solve the puzzle of how to make a living from her passion. So she lives with her parents and works at the local diner, catering to regulars like The Retireds, a charming if cantankerous crew of elderly men. The most recent member to join the group is a recently retired tailor, the unfortunately named Hugh Pugh. 4-LETTER WORD FOR “IMPALE” But Hugh’s misfortune dramatically increases when he’s arrested for stabbing his husband with a pair of fabric shears. With a cryptic crossword clue left at the crime scene, Quinn seems tailor-made for solving this murder. The local police may be determined to pin the crime on the kindly tailor, but Quinn will use her penchant for puzzles and what her therapist calls her “obsessive coping mechanism” to get the clues to line up and catch the real culprit—before the killer boxes her in. . . . “FRESH, FAST, AND FURIOUSLY FUN . . . Becky Clark writes with wry wit, a keen eye, and no shortage of authority.” —Brad Parks, Shamus Award-winning author on Fiction Can Be Murder Includes original crossword puzzles!
Where paint, paper, fabric, metal, and wax all come to play! Uncover the very best articles and projects from Cloth Paper Scissors magazine. Editor Barbara Delaney has assembled a gold mine of hands-on inspiration and ideas for mixed-media artists of all types. Explore the exciting worlds of collage, journaling, encaustic, printing, assemblage, and more. Learn how to make interesting surface designs with Beryl Taylor, how to keep a uniquely-you sketchbook with Jane LaFazio, and how to transform a basic photograph into a whimsical wonder with Kelly Nina Perkins. The only rule in this mixed-media guide is that there are no rules. In addition to the tips and techniques, the experts elaborate on their favorite tools and mediums, including paintbrushes, adhesives, papers, waxes, found objects, and more, taking the guesswork out of achieving tricky effects. Perfect for all skill levels, The Cloth Paper Scissors Book showcases inspiring projects for both those who are new to the world of mixed media and those who already love mixed media and are looking for exciting new ideas.
You know absolutely nothing about The Internet, even if you think you do. Whether an expert or a ""newber,"" Post-Modem is guaranteed to tell you something you would have never known about The Internet without picking up this book. How did housewives in the 50s combine a turntable and a HAM radio to get Wi-Fi? What is the connection between ""Mad Men""'s Jon Hamm and AskJeeves? (hint: you might want to ask Jon Hamm!) Is Richard Dawkins real? How did Stalin create the first LOLCat via Sputnik? Post-Modem is the unabridged, unedited history of the Internet you've always needed. Rob Kutner (The Daily Show, Conan) says: "With an inspired mix of real historical texture, ballsy anachronism, countless whip-smart jokes, and spot-on 'archival photos, ' Jason Klamm spins a delightful John Hodgman-esque look at the Internet throughout history and today."
1 DOWN: DEATH BY HOMICIDE Quinn Carr wishes her life could be more like a crossword puzzle: neat, orderly, and perfectly arranged. At least her passion for puzzles, flair for words—and mild case of OCD—have landed her a gig creating crosswords for the local paper. But if she ever hopes to move out of her parents’ house, she can’t give up her day job as a waitress. She needs the tips. But when a customer ends up dead at her table—face down in biscuits and gravy—Quinn needs to get a clue to find whodunit . . . 6 LETTERS, STARTS WITH “M” It turns out that solving a murder is a lot harder than a creating a crossword. Quinn has plenty of suspects—up, down, and across. One of them is her boss, the owner of the diner who shares a culinary past with the victim. Two of them are ex-wives, her boss’s and the victim’s. A third complication is the Chief of Police who refuses to allow much investigation, preferring the pretense their town has no crime. To solve this mystery, Quinn has to think outside the boxes—before the killer gets the last word . . . “FRESH, FAST, AND FURIOUSLY FUN . . . Becky Clark writes with wry wit, a keen eye, and no shortage of authority.” —Brad Parks , Shamus Award-winning author (on Fiction Can Be Murder) Includes original crossword puzzles, also downloadable from BeckyClarkBooks.com!
Thomas Middleton (1580-1627) - 'our other Shakespeare' - is the only other Renaissance playwright who created lasting masterpieces of both comedy and tragedy; he also wrote the greatest box-office hit of early modern London (the unique history play A Game at Chess). His range extends beyond these traditional genres to tragicomedies, masques, pageants, pamphlets, epigrams, and Biblical and political commentaries, written alone or in collaboration with Shakespeare, Webster, Dekker, Ford, Heywood, Rowley, and others. Compared by critics to Aristophanes and Ibsen, Racine and Joe Orton, he has influenced writers as diverse as Aphra Behn and T. S. Eliot. Though repeatedly censored in his own time, he has since come to be particularly admired for his representations of the intertwined pursuits of sex, money, power, and God. The Oxford Middleton, prepared by more than sixty scholars from a dozen countries, follows the precedent of The Oxford Shakespeare in being published in two volumes, an innovative but accessible Collected Works and a comprehensive scholarly Companion. Though closely connected, each volume can be used independently of the other. The Collected Works brings together for the first time in a single volume all the works currently attributed to Middleton. It is the first edition of Middleton's works since 1886. The texts are printed in modern spelling and punctuation, with critical introductions and foot-of-the-page commentaries; they are arranged in chronological order, with a special section of Juvenilia. The volume is introduced by essays on Middleton's life and reputation, on early modern London, and on the varied theatres of the English Renaissance. Extensively illustrated, it incorporates much new information on Middleton's life, canon, texts, and contexts. A self-consciously 'federal edition', The Collected Works applies contemporary theories about the nature of literature and the history of the book to editorial practice.
Figuring the Feminine examines the female body as a means of articulating questions of literary authority and practice within the cultural spheres of the Iberian Peninsula (both Romance and Semitic) as well as in the larger Latinate literary culture. It demonstrates the centrality in medieval literary culture of the gendering of rhetorical and hermeneutical acts involved in the creation of texts and meaning, and the importance of the medieval Iberian textual tradition in this process, a complex multicultural tradition that is often overlooked in medieval literary scholarship. This study adopts an innovative methodology informed by current theories of the body and gender to approach Hispanic literature from a femininst perspective. Jill Ross offers new readings of medieval Hispanic texts (Latin, Castilian, and Hebrew) including Prudentius' Peristephanon, Gonzalo de Berceo's Milagros de Nuestra Señora, Shem Tov of Carrión's Battle Between the Pen and the Scissors, and several others. She highlights ways in which these texts contribute to the understanding of gender in medieval poetics and foreground questions of literary and cultural import. Figuring the Feminine argues that the bodies of women are crucial to the working out of such questions as the unsettling shift from orality to literacy, textual instability, cultural dissonance, and the resistance to cultural and religious hegemony.
Thomas Middleton is one of the few playwrights in English whose range and brilliance comes close to Shakespeare's. This handsome edition makes all Middleton's work accessible in a single volume, for the first time. It will generate excitement and controversy among all readers of Shakespeare and the English classics.