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New college graduate Nick Adano doesn’t realize it, but he’s about to move from the frustration of unemployment into the despair of being a vital cog in a morally dubious invention-marketing company. And when Nick and his boss find themselves with a problem on their hands—a client with a good idea who’s being railroaded—will Nick have the courage to confront himself? Set against the backdrop of the early nineties’ recession, Mousetrap, Inc. explores a world before email and social media, when people relied on newspapers as a pivotal way to get information. To buoy the spirits of his equally despairing coworkers, Nick pens tales featuring an antihero named Chapel Fox, by day a respected divorce attorney, but by night a madman bringing his version of justice to his beloved hometown. Nick’s coworkers take pleasure—and maybe derive a hint of self-recognition—from these morally ambiguous stories. Capturing the essence of the awkward early twenties, when we’re adults . . . but not quite, this work speaks to anyone who’s endured a less-than-ideal work situation.
Melodrama; 5 male roles, 3 female roles.
New college graduate Nick Adano doesn't realize it, but he's about to move from the frustration of unemployment into the despair of being a vital cog in a morally dubious invention-marketing company. And when Nick and his boss find themselves with a problem on their hands--a client with a good idea who's being railroaded--will Nick have the courage to confront himself? Set against the backdrop of the early nineties' recession, Mousetrap, Inc. explores a world before email and social media, when people relied on newspapers as a pivotal way to get information. To buoy the spirits of his equally despairing coworkers, Nick pens tales featuring an antihero named Chapel Fox, by day a respected divorce attorney, but by night a madman bringing his version of justice to his beloved hometown. Nick's coworkers take pleasure--and maybe derive a hint of self-recognition--from these morally ambiguous stories. Capturing the essence of the awkward early twenties, when we're adults . . . but not quite, this work speaks to anyone who's endured a less-than-ideal work situation.
The essays in this collection attempt to frame a broad humanist context for various current and historical scientific topics. Subjects range from an astronomical interpretation of Van Gogh's Starry Night to popular misconceptions about Neanderthal humans to the risk factors that are inherent in the development of any new technology.--Editorial review.
Discover the secrets behind some amazing inventions! Through observation, experimentation, and perseverance, humansthrough the ages have managed to solve a whole array of perplexingproblems. These solutions have included such incredible inventionsas the parachute, the periscope, the solar water heater, thesuspension bridge, the stethoscope, and many more. Now, with Builda Better Mousetrap in hand, you too can experience your own Eureka!moments of inspiration and sharpen your problem-solving skills aswell, while you explore the history and science behind some of theworld's most exciting inventions. With this collection of fascinating, hands-on projects you'lldiscover the answers to such intriguing questions as: Who inventedthe hovercraft? Why is there a hole in the top of a parachute? Whatis an Aerobie and why does it fly so well? And you'll be encouragedto come up with your own awesome inventions. With easy-to-followinstructions on how to make everything from a rocket, to akaleidoscope, to a bottle organ, Build a Better Mousetrap is filledwith enough exciting projects and challenges to get you started ona lifetime of invention.
A collection of classic theatrical whodunnits includes Ten Little Indians, Witness for the Prosecution, and The Mousetrap, the longest running play in history. Reissue.
Though students aren’t yet old enough to drive, that doesn’t mean they can’t satisfy their need for speed. Author and physics teacher Bobby Mercer will show readers 25 easy-to-build racecars that can be driven both indoors and out. Better still, each of these vehicles is constructed for little or no cost using recycled and repurposed materials. The Racecar Book will teach readers how to use mousetraps, rubber bands, chemical reactions, gravity, and air pressure to power these fast-moving cars. They will learn how to turn a potato chip can, a rubber band, and weights into a Chip-Can Dancer, or retrofit a toy car with a toy plane propeller to make an air-powered Prop Car. An effervescent tablet in a small canister makes an impressive rocket engine for a Mini Pop Car, and old CDs, a small cardboard food box, and drinking straws become a Mac-n-Cheese Roller. Every hands-on project contains a materials list and detailed step-by-step instructions. Mercer also includes explanations of the science behind each racecar, including concepts such as friction, Newton’s laws of motion, kinetic and potential energy, and more. Teachers will appreciate the opportunity to augment their STEM curricula while having fun at the same time. These projects are also perfect for science fairs or design competitions. Bobby Mercer has been a high school physics teacher for over two decades. He is the author of The Flying Machine Book and Smash It! Crash It! Launch It! and lives with his family outside of Asheville, North Carolina.
There is scarcely an element of Hamlet that has not received attention many times, yet both general reader and sophisticated critic would generally agree that the character of Hamlet and the full meanings of the play remain mysteries. No less a puzzle is the art of Hamlet, for, while the form of the art is elusive, the feeling of essential meaning is strong. Professor Aldus hopes to enlarge our understanding of Hamlet and our appreciation of Shakespeare as a conscious artist of great subtlety by studying the play’s dramatic structure in the light of Aristotle’s Poetics and its meaning as literary myth in the light of Plato’s Phaedrus. This is a study of Hamlet as literary myth, a figurative mode of art in which structure is basic; yet primal myth, myth in the larger, non-literary sense, becomes part of it too, because the substance of Hamlet seems to be of this kind. Professor Aldus’s reading of Hamlet is both radically new and decidedly provocative. A great deal of very careful inquiry has gone into the unearthing of connections which at first sight often seem improbable and tenuous, but which, one comes to find, have an illuminating total unity. Future commentators may not accept all that Professor Aldus has to say about, for example, Ophelia’s crown of flowers, but they will hardly be able to ignore it.