"Come to me...," she said, softly, "and I will make your pen sing again." Bandile Ndala is a once-successful scriptwriter who now struggles with substance abuse, anxiety and depression as he starts to lose his tenuous grip on reality. His career has stagnated with the rejection of his literary work and life at home with his family is under strain. His life starts to descend into a living nightmare, literally. Bandile is desperately searching for inspiration so he can make a much-needed comeback. When Bandile finds himself in room 28 at the Cariba Inn with a sultry temptress he wonders whether he has gone crazy. Has the formerly brilliant writer who churned out hit TV show after hit TV show lost his mind? Is he on drugs? Or is it all in something he ate at a dinner a few years back...?

FIRST IN THE COOKBOOK NOOK MYSTERY SERIES! In need of a change, Jenna Hart leaves the high-pressure world of advertising to help her aunt, Vera, open a culinary bookshop and café. Back with her family in Crystal Cove, California, Jenna seems to have all the right ingredients for a fresh start—until someone adds a dash of murder. As a marketing expert, Jenna wants to make sure the grand opening of the Cookbook Nook draws a crowd, and no one is better at getting attention than her old college roommate, celebrity chef Desiree Divine. But when Desiree arrives in quiet Crystal Cove to do a cookbook signing, the diva stirs up more trouble than business…especially when she turns up dead. Known for stealing husbands and burning bridges, Desiree left behind plenty of suspects—including Jenna. Though the celebrity’s life always appeared to be an open book, Jenna will have to read between the lines in order to clear her name, and catch a killer before another body is served cold. Includes recipes!

The Indiscerniblity of Identicals is the principle that if two objects are absolutely identical then they must be indistinguishable from one another with respect to all of their properties. But does that include the context of the identical objects? The notion of identical gives rise to many philosophical problems, including: 1. What does it mean for an object to be the same as itself? 2. If x and y are identical (are the same thing), must they always be identical? Are they necessarily identical? 3. What does it mean for an object to be the same, if it changes over time? (Is applet the same as applet+1?) 4. If an object's parts are entirely replaced over time, in what way is it the same?

There are few forms in which so much authority has been invested with so little reflection as the sentence. Though a fundamental unit of discourse, it has rarely been an explicit object of inquiry, often taking a back seat to concepts such as the word, trope, line, or stanza. To understand what is at stake in thinking—or not thinking—about the sentence, Jan Mieszkowski looks at the difficulties confronting nineteenth- and twentieth-century authors when they try to explain what a sentence is and what it can do. From Romantic debates about the power of the stand-alone sentence, to the realist obsession with precision and revision, to modernist experiments with ungovernable forms, Mieszkowski explores the hidden allegiances behind our ever-changing stylistic ideals. By showing how an investment in superior writing has always been an ethical and a political as well as an aesthetic commitment, Crises of the Sentence offers a new perspective on our love-hate relationship with this fundamental compositional category.