the local villains, who are eyeing her isolated house. The real threat, however, comes from within. Isabel thinks she has gone home to do good, but really she is looking for the love she lacked as a child. Isolated by her mother's growing dementia, the two women become locked in a relationship of hatred and simmering violence, with roots that go deep into the past. . .  (less)

her seemed to freeze like a photograph and she felt weird. A little later the boat blew up and killed everyone on board. Since then she’s been troubled by a sort of second sight that works sometimes, but not always. Now, years later, she sings with a band called Mobile Mortuary who make their onstage entrance climbing out of body drawers. Death is much on her mind because the men in her life tend to die before their time and she’s come to think she’s bad luck. Elias Newman is a diabetologist who meets Christabel at a Royal Academy of Arts exhibition. Fascinated, he’s keen to know her better. She’s attracted to him but afraid of what might happen if she lets herself fall in love. Christabel and Elias are complicated people. Via Symbolist paintings and German ballads the narrative flows from the River Lea via a haunted woodland bog out to the crash of the Pacific surf on Kahakuloa Head in the Hawaiian Islands. And only in a Hoban novel could such an intensely involving love story embrace the redemptive power of ketchup bottles./DIV/DIVDIVDIVDIVRussell Hoban is the author of many novels includingIAmaryllis Night and Day/I,DIVDIVIThe Bat Tattoo/I,IHer Name Was Lola/I,IRiddley Walker/I, and ITurtle Diary/I. His books for children include the Frances books and IThe Mouse and his Child/I./DIV/DIV/DIV/DIV/DIV  (less)

second, she adeptly deconstructs all of her own encounters with a witty and persistent God who thinks the real problem here is not career-vs-kids but call. Vocation. The stand-off starts to crumble one night when a rainbow declares truce during dinner, and she begins to discover that not even deconstruction can separate us from the love of God. Here indeed is a God whose reality, matters, even for the crazy-making conflicts of modern family life.  (less)

who are eyeing her isolated home. But as the villains close in, Isabel finds herself struggling with her own emotions. She thinks she has come home to do some good, but is she really looking for the love she lacked as a child? Alienated by her mother's growing eccentricity, the two women become locked in a relationship of love, conflict and simmering violence, with roots that go deep into the past."A chilling mélange of aging, family responsibility and criminal activity--. Fascinating and frightening-- intensely sinister." -iEdmonton Journalbrbr/i"Gripping--. The characters are appallingly real, stripped of any veneer of 'niceness.' [iLet's Dance/i] tests the boundaries of the mystery genre, and succeeds." -iMontreal Gazettebrbr/i"Fyfield's finest novel yet--. A superbly written story with characters who contain and control the action, and enough suspense to keep me reading long into the night.iLet's Dance/iis a spellbinding study of love, neurosis and the tragedy of senility." -iThe Globe and Mailbrbr/i"A fascinating tale of family intrigue--. Fyfield is at her best--. A thrillers go, this one is worth the read." -iOttawa Citizenbrbr/i  (less)

quest that destroys any woman who dares to love him. Is it too late? Can Madeline escape the curse of the Fears?  (less)

have perfect, surgically created cookie-cutter bodies. The fact is that dancers, like "real" women, come in all shapes and sizes: top-heavy, bottom-heavy, top- and bottom-heavy, muscular, toned, and even doughy. Some strippers' faces are beautiful, some cute, and some have the same random noses or recessive chins that other women have. Most are tan, some are pale. Some have long hair, some short. All but the smallest minority have cellulite and stretch marks somewhere on their bodies. If strippers are so much like ordinary women, then, why does everyone think they're so hot?brbrThe truth is, what really makes a stripper hot is simply her willingness to get naked for you. It's that spark, that moment of utter abandon when a stripper begins her dance, that makes her absolutely, smoking hot. Contained within that spark, that instant, is a sense of complete self-confidence and self-possession. A total owning of her sexuality and power that says, Sit back, Sparky, Mama's taking you for a ride.brbrSo why is it that some women, like strippers, are totally okay letting complete strangers see them nearly naked, while the rest of us cringe at the thought? Where does a stripper's self-confidence come from?brbrThis one's easy: A dancer's self-confidence comes from having a deep level of comfort with her body that ordinary women don't have. The real question is, why don't ordinary women have the same deep level of comfort with their bodies that dancers do?brbrTo really understand how some stripping experience boosts your self-confidence, you really have to understand that strippers are strictly a product of their environment. Dancers are made, not born. ?ÜÌÌÌÌÌÍÿ¾Û€  (less)

plays with his friends. By helping children to think about Jesus as someone like them, the book also encourages them to take his life and teachings more to heart. The book includes not only this entertaining sing-along story, but also music suitable for piano or guitar, lyrics, and a CD. The author has also choreographed an accompanying dance that is suitable for Sunday school classes and church activity groups. It's a colorful and engaging book that can be read at church, in the classroom, or at home just before being tucked into bed.  (less)

Detective Tate spotting her, vows that the show will go on.  (less)

passages aloud? When was the last time you read something that was so startling that it made you think, My God, not only am I not in Kansas anymore, I'm not even sure what planet I'm on!PWell, welcome to the world of Disco Bloodbath, and the crazy, maddening, terrifying, bizarre, and totally charming people who inhabit it, doing all sorts of unspeakable things to each other -- and to themselves -- all in an effort to keep ennui at bay just for one more day.PDisco Bloodbath is a dazzling, dizzying, amazingly vivid, and startlingly fresh look at a subculture that for several years pranced its hedonistic way across the dance floors of New York City's trendiest clubs. It is also perhaps the funniest book about a murder you will ever read. Like its author, who experienced it all and has lived to tell the tale, it's a true original.PWhen self-proclaimed king of club kids and party promoter extraordinaire Michael Alig was convicted in November 1996 of killing a drug dealer known as Angel, a spotlight was trained on a world few people even knew existed. Author James St. James knew that world, of course; in fact, he was one of its creators. He also knew the rules, knew them inside out, because he helped write them. And while it was a life and a lifestyle in which just about anything was acceptable so long as it wasn't boring, murder was considered a no-no. So when Alig confessed his part in the crime to St. James, our author knew that there could be no going back -- and that this timethe party really was over.PNow, in this unflinching tell-all book, James St. James leads the reader into the bizarre, almost surreal universe of abandon and gender-bending amorality, decadence, and drugs that he knew so well. And in a writing style as addictive as any drug, he detai@WúáG®{ÿ¾Û€  (less)

of Humanities, Stanford University, author of The Futurist Moment and Radical Artifice--Steven Mansbach, Professor of the History of Modern Art, University of Maryland, author of Modern Art in Eastern Europe: From the Baltic to the Balkans, ca. 1890-1939--Boris Groys, Professor of Philosophy and Media Theory, Center for Arts and Media Technology, Karlsruhe, and author of The Total Art of Stalinism: Russian Avant-Garde, Aesthetic Dictatorship, and Beyond" Impossible Histories is a nearly encyclopedic work and a revelation to the outside world of the fruitful impact of experimental modernism on artists and poets in what we now think of as 'the former Yugoslavia.' In this assemblage of essays and photographs by many hands, Dubravka Djuric and Misko Suvakovic bring to light a hidden center of the avant-garde and by so doing help complete the picture of the great experimental project of the just concluded century." --Jerome Rothenberg, poet, University of California, San Diego" This volume is an essential guide to previously uncharted territories. Until the publication of Impossible Histories, hardly anyone outside of former Yugoslavia could have grasped the region's extraordinarily complex contribution to avant-garde and neo-avant-garde art, architecture, music, dance, and performance--all of which are recorded here for the first time in detailed historical accounts, precise documentation, and pertinent critical commentary." --Benjamin H. D. Buchloh, Professor of Twentieth-Century Art History at Barnard College, Columbia University" Impossible Histories is not only the most penetrating history of modern culture in the fo@Qã33333ÿ¾Û€  (less)

caught Kyoto and the other Japanese cities t the very moment when the flower blooms and scatters. The collection has been praised by a composer for its kaleidoscopic imagery and quality of thought, deserving to be treasured and celebrated. The three-line form poems both borrow, and depart from, a traditional and honored form of Japanese verse practiced for centuries. The poems were composed during a Spring journey through Japan and on into South Korea at the height of the sakura or cherry tree blossoming. It should be welcomed by readers, writers and students of poetry and Asian literature, history and religion; lovers of gardens, of gardening and the haunting magic of nature and musical language.  (less)

Lady Marmalade * Love the One You're With * Love Will Keep Us Together * Me and You and a Dog Named Boo * Oye Como Va * Raindrops Keep Fallin' on My Head * Silly Love Songs * Spiders and Snakes * That's the Way (I Like It) * Tie a Yellow Ribbon Round the Ole Oak Tree * Top of the World * You Don't Have to Be a Star * You're the One That I Want * Your Mama Don't Dance * and more.  (less)