A psychoanalyst is ready to marry a nice, simple girl on the morrow and is hearing his last clients today: a man who confesses to an old affair with the doctor's fiancee, a wife who had a big fight with her husband, and the husband who is also an old flame in the life of the doctor's fiancee. The doctor loses his scientific calm but manages to gain a professional moral as he embarks on a honeymoon abroad.

"Within the walls of Meritropolis, 50,000 inhabitants live in fear, ruled by the brutal System that assigns each citizen a merit score that dictates whether they live or die.... [But] seventeen-year-old Charley has a brother to avenge. And nothing...is going to stop him."--back cover.

Celebrate 40 years of the favourite lift-the-flap farmyard story from Rod Campbell, the creator of the bestselling preschool classic, Dear Zoo. Buster's staying with Grandma on the farm. But where will he find the eggs for breakfast? Not in the stable - oh dear! Young children will love lifting the flaps as they turn the pages and follow Buster around the farm. With bright, bold artwork, simple, catchy text and a whole host of favourite farm animals, Oh Dear! is a classic story to come back to again and again, and the thick board pages, chunky cased cover and sturdy flaps make it great for small hands. Rod Campbell, the creator of the preschool lift-the-flap classic Dear Zoo, has been a trusted name in early learning for over forty years, and Oh Dear! has been a firm favourite with toddlers and parents alike since it was first published in 1983. Enjoy more stories about Buster with two touch-and-feel books, Goodnight Buster! and Buster's Farm, and the search-and-find book Where's Teddy?.

Rose Parker passed quietly one night, never having required custodial or hospice care. The support Ray received from his father and his adopted son, Manny Morris, was admirable. Erin and Miller weathered the gossip and had three normal children and a wonderful life together. Gaye and Jay were married and gloried in their "second lives," based on (of all things) love. Nora and Jaque did not marry but continued to love each other. Vanessa hadn't asked if Jaque were her biological father. When and if she did . . . Gino Capetti declined to press charges against his captors. Before his trial was to begin, he feigned the symptoms of acute appendicitis. Though in a lock ward at the hospital, his visiting doctor looked enough like Gino that Gino rendered him unconscious, changed into the doctor's clothes, and was released unknowingly. Ten minutes later, when the doctor stumbled out of the room, Gino had disappeared. Gino's guard was given a new assignment, walking a beat in an obscure part of town. Gino's plan was to get to Mexico, have his face changed, and return to Jacksonville to repay the Ortegas for their "hospitality." Before leaving town, he managed to get an old bicycle, which he left at the gate entry to the Ortega complex. Nora correctly interpreted the implication.

The Cinema of Norman Mailer: Film is Like Death not only examines the enfant terrible writer's thoughts on cinema, but also features interviews with Norman Mailer himself. The Cinema of Norman Mailer also explores Mailer's cinema through previously published and newly commissioned essays written by an array of film and literary scholars, enthusiasts, and those with a personal, philosophical connection to Mailer. This volume discusses the National Book Award and Pulitzer Prize-winning author and filmmaker's six films created during the years of 1947 and 1987, and contends to show how Mailer's films can be best read as cinematic delineations that visually represent many of the writer's metaphysical and ontological concerns and ideas that appear in his texts from the 1950s until his passing in 2007. By re-examining Mailer's cinema through these new perspectives, one may be awarded not just a deeper understanding of Mailer's desire to make films, but also find a new, alternative vision of Mailer himself. Norman Mailer was not just a writer, but more: he was one of the most influential Postmodern artists of the twentieth century with deep roots in the cinema. He allowed the cinema to not only influence his aesthetic approach, but sanctioned it as his easiest-crafted analogy for exploring sociological imagination in his writing. Mailer once suggested, "Film is legitimately more interesting than books..." and with that in mind, readers of Norman Mailer might begin to rethink his oeuvre through the viewfinder of the film medium, as he was equally as passionate about working within cinema as he was about literature itself.