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A wise-cracking, grammar-obsessed, pansexual amateur sleuth is thrust into the world of the uber-rich when her enigmatic, now-famous childhood friend breezes back into her life begging for help with a dangerous stalker Our nameless postmodern amateur sleuth is still recovering from her first dangerous foray into detective work when her old friend Priscilla Jane Gill breezes back into her life and begs for help. Pris, now a famous travel writer, fears she’s being stalked again after a nearly fatal attack by a deranged fan a year earlier. In Pris’s dizzying world of wealth and privilege, nameless meets dreamy but sinister tech billionaire Nathan and his equally unnerving sidekick Chiles. Pris’s stalker is murdered outside her book launch, and the shadow of obsession continues to stalk Pris. With no one she can totally trust, nameless knows she’s not going to like the answer — but she delves into her old friend’s past, seeking the mastermind behind Pris’s troubles before it’s too late. Bunnywit does his level best to warn them, but no one else speaks Cat, so background peril transforms into foreground betrayal and murder. In the second installation of the Epitome Apartments Mystery Series, our heroine walks a dangerous path in a world where money is no object and the stakes are higher, and more personal, than ever.
A smart, witty and subversive mystery about a dangerous stalker, featuring the wise-cracking, pansexual amateur sleuth from The Adventures of Isabel 'Think Patricia Highsmith on helium' Sunday Times Crime Club on The Adventures of Isabel When childhood friend Pris breezes back into her life begging for help with a dangerous stalker, our heroine is thrust suddenly into the world of the Canadian uber-rich. And when Pris's stalker is then murdered outside her book launch, the case is seemingly closed. But something still doesn't feel right, so our nameless heroine delves into her old friend's past, seeking the mastermind behind Pris's troubles before it's too late. Bunnywit does his level best to warn them, but no one else speaks Cat, so background peril soon becomes foreground betrayal and murder. Our detective walks a dangerous path in a world where money is no object and the stakes are higher, and more personal, than ever.
'It is odd that the galvanised industry of women's literature should have passed by that most telling of female malaises, Anorexia Nervosa... Daisy Waugh breaks the silence with a resounding clatter of imaginative energy. WHAT IS THE MATTER WITH MARY JANE? is far more than just a gruesome horror story with the moral "Don't slim" slung round its girth. It unites stringency with compassion and humour with social comment, in such a way that the reader not only gains a vivid insight into the insidious nature of this disease, but is treated to a mighty entertaining read in the process' Lucy Ingrams in The Literary Review A natural' Anne Haverty in The Times Literary Supplement 'Miss Waugh has perfect pitch and is hypersensitive to the silliness of the chatter of her London peer group at play...It suggests the rich potential of a whole new genre of light fictional psychopathology' Patrick Skene Catling in the Sunday Telegraph Achieving the right tone of voice for a book's narration is one of the hardest of the novelist's skills, and Daisy Waugh is to be congratulated on getting it dead right in her first novel' Punch
Book one in a mystery series featuring a queer, nameless amateur detective is ambisexual Kinsey Millhone meets Canadian Lisbeth Salander Rescued from torpor and poverty by the need to help a good friend deal with the murder of her beloved granddaughter, our downsized-social-worker protagonist and her cat, Bunnywit, are jolted into a harsh, street-wise world of sex, lies, and betrayal, to which they respond with irony, wit, intelligence (except for the cat), and tenacity. With judicious use of the Oxford comma, pop culture trivia, common mystery tropes, and a keen eye for deceit, our protagonist swaggers through the mean streets of — yes, a Canadian city! — and discovers that what seems at first to be just a grotty little street killing is actually the surface of a grandiose and glittering set of criminal schemes.
A collection of twenty-three of the best loved-poems of A.A. Milne.
From Sinatra's closest confidant and an eventual member of his management team, Tony Oppedisano, comes an extraordinarily intimate look at the singing idol. Deep into the night, for more than two thousand nights, Frank and Tony would converse, about music, family, friends, great loves, achievements and successes, failures and disappointments, the lives they'd led, the lives they wished they'd led
Ten adventures of Pooh, Eeyore, Tigger, Piglet, Owl, and other friends of Christopher Robin.
With a gorgeously redesigned cover and the original black and white interior illustrations by Ernest Shepard, this beautiful edition of the beloved classic poetry collection featuring Winnie-the-Pooh and Christopher Robin Now We Are Six by A. A. Milne is sure to delight new and old fans alike! Originally published after the novel Winnie-the-Pooh and the verse collection When We Were Very Young, A. A. Milne wrote this classic book of children’s poems about and for his son Christopher Robin when he turned six. With appearances from the beloved Winnie-the-Pooh throughout, these sweet and funny poems tell of playful adventures, the joys and pains of growing up, memorable animal friends, and more.
Pantheism is the idea that God and the world are identical—that the creator, sustainer, destroyer, and transformer of all things is the universe itself. From a monotheistic perspective, this notion is irremediably heretical since it suggests divinity might be material, mutable, and multiple. Since the excommunication of Baruch Spinoza, Western thought has therefore demonized what it calls pantheism, accusing it of incoherence, absurdity, and—with striking regularity—monstrosity. In this book, Mary-Jane Rubenstein investigates this perennial repugnance through a conceptual genealogy of pantheisms. What makes pantheism “monstrous”—at once repellent and seductive—is that it scrambles the raced and gendered distinctions that Western philosophy and theology insist on drawing between activity and passivity, spirit and matter, animacy and inanimacy, and creator and created. By rejecting the fundamental difference between God and world, pantheism threatens all the other oppositions that stem from it: light versus darkness, male versus female, and humans versus every other organism. If the panic over pantheism has to do with a fear of crossed boundaries and demolished hierarchies, then the question becomes what a present-day pantheism might disrupt and what it might reconfigure. Cobbling together heterogeneous sources—medieval heresies, their pre- and anti-Socratic forebears, general relativity, quantum mechanics, nonlinear biologies, multiverse and indigenous cosmologies, ecofeminism, animal and vegetal studies, and new and old materialisms—Rubenstein assembles possible pluralist pantheisms. By mobilizing this monstrous mixture of unintentional God-worlds, Pantheologies gives an old heresy the chance to renew our thinking.