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After Benjamin Pomeroy has hot club sex with Trey, a gorgeous new employee at the Las Vegas hotel where he works, he loses his job as the Elvis impersonator when the hotel’s new CEO, Maxwell Orton, decides Elvis doesn’t fit the hotel’s image. Originally from New Orleans, Orton is fond of Mardi Gras, thus the Masquerade Ball to introduce himself to the executive staff of the hotel. Because he lost his job, Ben agrees to impersonate his older brother, an executive at the hotel, for money when his brother doesn’t want to cancel his plans. It’s an idiotic idea and he knows it, but he finds himself at the Masquerade Ball anyway. He’s intent on staying two hours and getting out fast when he has yet another encounter with the sexy, mysterious Trey. But soon Ben realizes he can’t easily escape the fact that his enigmatic lover is Orton himself.
When Jason and his sister, Tricia, are enjoying a day out in nature, they hear a distant cry for help. As they get closer to the person who is calling to them, something seems off. Can they trust the call for help, or is it a trap to lure them further into the woods?
In 1917, Jessie Carr, fourteen years old and sole heiress to her family's vast fortune, disappeared without a trace. Now, years later, her uncle Oliver Beckett thinks he's found her: a young actress in a vaudeville playhouse is a dead ringer for his missing niece. But when Oliver confronts the girl, he learns he's wrong. Orphaned young, Leah's been acting since she was a toddler. Oliver, never one to miss an opportunity, makes a proposition—with his coaching, Leah can impersonate Jessie, claim the fortune, and split it with him. The role of a lifetime, he says. A one-way ticket to Sing Sing, she hears. But when she's let go from her job, Oliver's offer looks a lot more appealing. Leah agrees to the con, but secretly promises herself to try and find out what happened to the real Jessie. There's only one problem: Leah's act won't fool the one person who knows the truth about Jessie's disappearance. Set against a Prohibition-era backdrop of speakeasies and vaudeville houses, Mary Miley's Minotaur Books/Mystery Writers of America First Crime Novel Competition winner The Impersonator will delight readers with its elaborate mystery and lively prose.
In 1917, Jessie Carr, fourteen years old and sole heiress to her family's vast fortune, disappeared without a trace. Now, years later, her uncle Oliver Beckett thinks he's found her: a young actress in a vaudeville playhouse is a dead ringer for his missing niece. But when Oliver confronts the girl, he learns he's wrong. Orphaned young, Leah's been acting since she was a toddler. Oliver, never one to miss an opportunity, makes a proposition—with his coaching, Leah can impersonate Jessie, claim the fortune, and split it with him. The role of a lifetime, he says. A one-way ticket to Sing Sing, she hears. But when she's let go from her job, Oliver's offer looks a lot more appealing. Leah agrees to the con, but secretly promises herself to try and find out what happened to the real Jessie. There's only one problem: Leah's act won't fool the one person who knows the truth about Jessie's disappearance. Set against a Prohibition-era backdrop of speakeasies and vaudeville houses, Mary Miley's Minotaur Books/Mystery Writers of America First Crime Novel Competition winner The Impersonator will delight readers with its elaborate mystery and lively prose.
Part romance, part mystery, this sizzling psychological thriller is written with uncommon style, intelligence, and sensuality. He is a hypnotically charming, predatory lover, but to travel writer Jane Donovan, he is the most damning love of all. . . . (Suspence/Psychological)
Winner of the National Book Award A New York Times Bestseller "The queer romance we’ve been waiting for.”—Ms. Magazine Seventeen-year-old Lily Hu can't remember exactly when the feeling took root—that desire to look, to move closer, to touch. Whenever it started growing, it definitely bloomed the moment she and Kathleen Miller walked under the flashing neon sign of a lesbian bar called the Telegraph Club. Suddenly everything seemed possible. But America in 1954 is not a safe place for two girls to fall in love, especially not in Chinatown. Red-Scare paranoia threatens everyone, including Chinese Americans like Lily. With deportation looming over her father—despite his hard-won citizenship—Lily and Kath risk everything to let their love see the light of day. (Cover image may vary.)
For two years Ester Newton did field research in the world of drag queens—homosexual men who make a living impersonating women. Newton spent time in the noisy bars, the chaotic dressing rooms, and the cheap apartments and hotels that make up the lives of drag queens, interviewing informants whose trust she had earned and compiling a lively, first-hand ethnographic account of the culture of female impersonators. Mother Camp explores the distinctions that drag queens make among themselves as performers, the various kinds of night clubs and acts they depend on for a living, and the social organization of their work. A major part of the book deals with the symbolic geography of male and female styles, as enacted in the homosexual concept of "drag" (sex role transformation) and "camp," an important humor system cultivated by the drag queens themselves. "Newton's fascinating book shows how study of the extraordinary can brilliantly illuminate the ordinary—that social-sexual division of personality, appearance, and activity we usually take for granted."—Jonathan Katz, author of Gay American History "A trenchant statement of the social force and arbitrary nature of gender roles."—Martin S. Weinberg, Contemporary Sociology
A journalist explores the world of Elvis Presley impersonators, their fans, and the industry that supports impersonators