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Billy Robbins is single and in his thirties. He makes his living as a writer… and when he’s not writing, he’s a passionate lover of women. Most dolls can’t say “no” to him and, of course, Billy likes it that way… which may explain why he’s thrown for a loop when he meets Varna. Billy falls hard for Varna, a beautiful yet elusive Eurasian woman who is not swayed by his charms at all. Varna gives him the brush-off hard, but Billy knows he’s already a goner. A gangster named Tony Di Marco has also fallen hard for a dame. Her name is Kay. But, Kay has other ideas. She wants Billy… and she’s used to getting what she wants. Kay tricks Billy into going to Las Vegas with her where she easily manages to get him drunker than drunk. Before long, and before he knows what’s happening, Billy and Kay are married. The bride is happy; the groom knows they are now dead… because Tony won’t be happy when he learns of this event. Tony’s rage sets Billy on the run. Will he run forever… or will he stop and force a showdown?
Plummer's reminiscences of his early lurchers and the men that bred them, of poaching, coursing and dog-fighting, with his views on the different crosses used in breeding lurchers. "An excellent book about lurchers and their raffish owners." (Shooting Times).
In this family story that includes more than 70 letters from Vietnam, the raw honesty of one homesick teenage boy speaks for every lonely soldier at war. Huey crew chief Larry Smith grew into a hardened man in his First Cavalry helicopter while his little sister Tracy started kindergarten back in New Jersey and learned of war from the family television. As Larry turned 19 in December 1967, battles intensified and his letters darkened, casting doubt on his promise to return home. Decades after the war, as he lay in a coma, Tracy read her brother's letters in full and vowed to uncover the whole truth of his war. What she learned makes the case for generational trauma in the mental health realm: children do not belong in war, nor should they watch one unfold on television.
The town of White Oaks, New Mexico Territory, was born in 1879 when prospectors discovered gold at nearby Baxter Mountain. In Gold-Mining Boomtown, Roberta Key Haldane offers an intimate portrait of the southeastern New Mexico community by profiling more than forty families and individuals who made their homes there during its heyday. Today, fewer than a hundred people live in White Oaks. Its frontier incarnation, located a scant twenty-eight miles from the notorious Lincoln, is remembered largely because of its association with famous westerners. Billy the Kid and his gang were familiar visitors to the town. When a popular deputy was gunned down in 1880, the citizens resolved to rid their c...
From the 1950s through the 1970s, disaster movies were a wildly popular genre. Audiences thrilled at the spectacle of these films, many of which were considered glamorous for their time. Derided by critics, they became box office hits and cult classics, inspiring filmmakers around the globe. Some of them launched the careers of producers, directors and actors who would go on to create some of Hollywood's biggest blockbusters. With more than 40 interviews with actors, actresses, producers, stuntmen, special effects artists and others, this book covers the Golden Age of sinking ships, burning buildings, massive earthquakes, viral pandemics and outbreaks of animal madness.
THE STORY: Set in Washington, D.C., AN AMERICAN DAUGHTER focuses on Dr. Lyssa Dent Hughes, a health care expert and forty-something daughter of a long-time Senator. When the President nominates Lyssa to a Cabinet post, an indiscretion from her past
Thomas South (Sowth) immigrated from Wiltshire, England to Maryland in 1649. He lived in Kent, Talbot, and Cecil Counties of Maryland, and died in 1674. Includes South, Jackson, Oakley, Williams, Holcombe, Milford, Millford and related families.
Wendy Wasserstein: A Casebook contains in-depth discussions of the playwright's major works, including her recent play 1 An American Daughter. Wasserstein's plays and essays are explored within diverse traditions, including Jewish storytelling, women's writing, and classical comedy. Critical perspectives include feminist, Bakhtinian, and actor/director. Comparisons with other playwrights, such as Rachel Crothers, Caryl Churchill, and Anton Chekhov, provide context and understanding. An interview with the playwright and an annotated bibliography are included.