Hugh can't stop hiccuping. He tries all sorts of different remedies until he finds one that actually works.

Hugh can't stop hiccuping. He tries all sorts of different remedies until he finds one that actually works.

""Dead Men Don't Eat Lunch"" paints a devastating picture of how British Governments have been corrupted for 30 years by huge bribes from the international arms trade, and how that corruption may even now be tainting the Liberal-Conservative Coalition Government of David Cameron and Nick Clegg. Special emphasis is given in ""Dead Men"" to the role of 'Al Yamamah, ' the notorious $150 billion arms contract between Great Britain and Saudi Arabia, which still generates $300 million in kickbacks every year. The author sets out, in gripping detail, his own discovery that the mysterious death of his close colleague, and former rising British political star, Hugh Simmonds CBE, was the direct consequence of his deadly role as British Prime Minister Margaret Thatcher's personal arms dealer, money-launderer and assassin.

Unknown secrets threaten the solidarity of the Henley family when a letter arrives from India that will change the course of their lives. Bryn, the vivacious daughter of Andrew Henley, receives the letter, which is addressed to her father. Eaten up by curiosity, she is forced to wait for her father on the porch swing for him to return back home. The contents of the letter are so devastating that Andrew now must risk the lives of his beloved wife and daughter on a journey that will take them across the plateau and will threaten their very existence. Together as a family they will brave natures wrath and will overcome impossible obstacles as they make their treacherous way to St. Louis.

Ten years in the making, Under the Volcano is the best-known work of writer Malcolm Lowry. Published first in 1947, it is a brilliant, moving, and complex novel, perhaps the last fictional masterpiece to emerge from the modernist movement. As the years went by, Lowry's obsessive rewriting took him further and further into his book, which changed relatively little in the outer semblance of action and main characters but became utterly transformed in texture from the thin and mediocre version of 1940 to the rich tapestry of 1947. The numerous manuscripts allow a look at the processes by which Lowry created not only his masterwork but also his own reputation as a modernist genius. This study offers an extended examination of individual drafts as the novel slowly developed and, in a final chapter, an appraisal of the implications of Lowry's revisions for the book as published, an appraisal that suggests bases for new readings of Under the Volcano.