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Wrangling His Best Friend’s Sister Ava Pearson needs a job—yesterday. After her husband’s death, her life in the city became impossible, and a crisis with her young son caused her to lose her job as a reporter. Now Ava is living in her childhood home again, without prospects, but not without hope. If she can just get enough money to tide her over while she pitches an article to an even better big-city paper, Ava feels she can get back on track. The only problem is…what jobs are available in her one-horse town? Branson Beckett is successful by most measures of the word. He’s the owner of a profitable ranch on the brink of expansion and is now looking for a few good ranch hands to help him out. However, he wasn’t thinking of his best friend’s little sister when it came to hard labor. No, he’d thought of her in other hard situations, but they usually involved the dark of night and his great big bed. Dreams that had no place in reality. Wrangling His Sexy Assistant Veterinarian Hunter Beckett just got roped into his nightmare: a bachelor auction to raise funds for a local charity. While he’s a hottie, most in town see him as a curmudgeon, a man who manages to be cranky, even after he’s saved your dog’s life. But when women start bidding on him like crazy—one aggressive hairdresser in particular—Hunter’s in need of a savior and finds it in the form of Kit, his veterinary resident. It’s a mercy purchase, but one that puts him in a bind: Kit wants something in return. Kit Cowie’s come all the way out to the boonies because of her love of large animal medicine, and because Hunter needs a new resident—badly. But now that she’s got the job, she finds that Hunter is only holding her back, making her give shots to puppies while he’s off doing what she’d really love: fixing broken bones and saving horses’ lives. Now that she’s rescued him from the auction, Kit hopes she can leverage this to get more access in the office. What she didn’t expect is for Hunter to follow the rules of the bachelor auction—or for their date go so wonderfully right, ending with a sizzling kiss. But Hunter is sure that the kiss was a mistake and believes they should keep things professional between them. However, the more time he spends with Kit, the more his emotions beg him to see this relationship to passionate fruition, even though he knows Kit is only here for a rotation until her position at her own family’s vet clinic goes into effect and she’s gone forever. Wrangling His Pregnant Cowgirl Scout Beckett has always wanted to run a ranch, not just work it under the purview of his older sibling. He wants to do something different from his family’s horses and beef cattle: he wants to own a dairy farm. To this end, Scout has been working on one as a foreman, and his mentor had always promised it would be Scout’s after he passed. But when the owner dies, he wills it to his city-slicker granddaughter instead; leaving Scout in charge of a farm that will never be his. Stella has worked for a nonprofit for years, helping to feed starving children in third-world countries. When she comes home for the funeral to say goodbye to her grandfather, the only stability she’s ever known, she finds herself falling into the arms of sexy cowboy Scout when shared loss and simple comfort turns to a night of passion before they each go their separate ways. But three months later, Stella returns to the ranch, faced with the stipulations of her grandfather’s will: she must stay for the better part of the year, or lose the ranch to charity. Not only that, but she has to tell her one-night stand that he’s going to be a daddy. When the shock of her pregnancy wears off, Stella vows to ride out the will’s rule and get back to her old life as soon as possible. But as Stella slowly remembers why she’s always loved the place she’s come back to, Scout has to decide if he’s okay with never owning the land he works. Is having a family enough?
On the alien, sunless planet they call Eden, the 532 members of the Family shelter beneath the light and warmth of the Forest’s lantern trees. Beyond the Forest lie the mountains of the Snowy Dark and a cold so bitter and a night so profound that no man has ever crossed it. The Oldest among the Family recount legends of a world where light came from the sky, where men and women made boats that could cross the stars. These ships brought us here, the Oldest say—and the Family must only wait for the travelers to return. But young John Redlantern will break the laws of Eden, shatter the Family and change history. He will abandon the old ways, venture into the Dark…and discover the truth about their world. Already remarkably acclaimed in the UK, Dark Eden is science fiction as literature; part parable, part powerful coming-of-age story, set in a truly original alien world of dark, sinister beauty--rendered in prose that is at once strikingly simple and stunningly inventive.
A retelling of the adventures of a brother and sister left in the woods by their wicked stepmother.
One week after their eleventh birthday, the Fowl twins--scientist Myles, and Beckett, the force of nature--are left in the care of house security (NANNI) for a single night. In that time they befriend a troll who has clawed his way through the earth's crust to the surface. Unfortunately for the troll, he is being chased by a nefarious nobleman and an interrogating nun, who both need the magical creature for their own gain, as well as a fairy-in-training who has been assigned to protect him. The boys and their new troll best friend escape and go on the run. Along the way they get shot at, kidnapped, buried, arrested, threatened, killed (temporarily), and discover that the strongest bond in the world is not the one forged by covalent electrons in adjacent atoms, but the one that exists between a pair of twins.
A PULITZER PRIZE FINALIST A Publishers Weekly Best Book of the Year National Book Award-winning biographer Deirdre Bair explores her fifteen remarkable years in Paris with Samuel Beckett and Simone de Beauvoir, painting intimate new portraits of two literary giants and revealing secrets of the biographical art. In 1971 Deirdre Bair was a journalist and recently minted Ph.D. who managed to secure access to Nobel Prize-winning author Samuel Beckett. He agreed that she could be his biographer despite her never having written—or even read—a biography before. The next seven years comprised of intimate conversations, intercontinental research, and peculiar cat-and-mouse games. Battling an elusive Beckett and a string of jealous, misogynistic male writers, Bair persevered. She wrote Samuel Beckett: A Biography, which went on to win the National Book Award and propel Deirdre to her next subject: Simone de Beauvoir. The catch? De Beauvoir and Beckett despised each other—and lived essentially on the same street. Bair learned that what works in terms of process for one biography rarely applies to the next. Her seven-year relationship with the domineering and difficult de Beauvoir required a radical change in approach, yielding another groundbreaking literary profile and influencing Bair’s own feminist beliefs. Parisian Lives draws on Bair’s extensive notes from the period, including never-before-told anecdotes. This gripping memoir is full of personality and warmth and gives us an entirely new window on the all-too-human side of these legendary thinkers.
The perfect summer read for fans of Terry Pratchett, David Walliams and Roald Dahl!
Readers have long responded to Samuel Beckett’s novels and plays with wonder or bafflement. They portray blind, lame, maimed creatures cracking whips and wielding can openers who are funny when they should be chilling, cruel when they should be tender, warm when most wounded. His works seem less to conclude than to stop dead. And so readers quite naturally ask: what might all this be meant to mean? In a lively and enlivening study of a singular creative nature, Leland de la Durantaye helps us better understand Beckett’s strangeness and the notorious difficulties it presents. He argues that Beckett’s lifelong campaign was to mismake on purpose—not to denigrate himself, or his audience, nor even to reconnect with the child or the savage within, but because he believed that such mismaking is in the interest of art and will shape its future. Whether called “creative willed mismaking,” “logoclasm,” or “word-storming in the name of beauty,” Beckett meant by these terms an art that attacks language and reason, unity and continuity, art and life, with wit and venom. Beckett’s Art of Mismaking explains Beckett’s views on language, the relation between work and world, and the interactions between stage and page, as well as the motives guiding his sixty-year-long career—his strange decision to adopt French as his literary language, swerve from the complex novels to the minimalist plays, determination to “fail better,” and principled refusal to follow any easy path to originality.
_______________ 'A triumph of scholarship and sympathy... one of the great post-war biographies' - Independent 'A landmark in scholarly criticism... Knowlson is the world's largest Beckett scholar. His life is right up there with George Painter's Proust and Richard Ellmann's Joyce in sensitivity and fascination' - Daily Telegraph 'It is hard to imagine a fuller portrait of the man who gave our age some of the myths by which it lives' - Evening Standard _______________ SHORTLISTED FOR THE WHITBREAD PRIZE _______________ Samuel Beckett's long-standing friend, James Knowlson, recreates Beckett's youth in Ireland, his studies at Trinity College, Dublin in the early 1920s and from there to the Continent, where he plunged into the multicultural literary society of late-1920s Paris. The biography throws new light on Beckett's stormy relationship with his mother, the psychotherapy he received after the death of his father and his crucial relationship with James Joyce. There is also material on Beckett's six-month visit to Germany as the Nazi's tightened their grip. The book includes unpublished material on Beckett's personal life after he chose to live in France, including his own account of his work for a Resistance cell during the war, his escape from the Gestapo and his retreat into hiding. Obsessively private, Beckett was wholly committed to the work which eventually brought his public fame, beginning with the controversial success of "Waiting for Godot" in 1953, and culminating in the award of the Nobel Prize for Literature in 1969.
Samuel Beckett has become the standard work on the enigmatic, controversial, and Nobel Prize-winning creator of such contributions to 20th-century theater as Waiting for Godot and Endgame. 16 pages of black-and-white photographs.
Samuel Beckett's work harbors an inevitable complicity with traditional modes and values. His idealist and even nihilist inclinations, for example, are closely related to the abstracting and systematizing tendencies that have predominated in Western thinking. His drama and fiction, in reproducing these tendencies, also help to reinforce and legitimate them. Beckett's work can thus be said to encourage an attitude of stoic resignation or life-denying withdrawal. Sylvie Debevec Henning's study reveals an important countertendency. In examining Beckett's art and literary criticism, his novel Murphy, plays Krapp's Last Tape and Endgame, his only film venture, and the late story "The Lost Ones," she shows that through a variety of double-voiced techniques—irony, parody, and satire—Beckett also brings a powerful critical light to bear upon our culture's repeated attempts to reduce or eliminate the more problematic aspects of existence and even mocks our desire to do so. His disquieting and occasionally uproarious interweaving of contradictory perspectives—somber and carnivalized, established and contestory—suggests that suffering and anguish are fundamental to life, while it affirms their relation to laughter and creative vigor within a richer, if less settled, cultural context. Drawing upon the work of Nietzsche, Heidegger, Foucault, Derrida, and particularly Bakhtin, Henning argues that Beckett's profound critique of Western intellectual tradition does not necessarily entail the loss of all positive values and beliefs. On the contrary, his use of carnivalesque and dialogized modes signals a revitalizing capacity that has not been fully appreciated.