But Pomeroy plays by his own set of rules. He may be on the dole, but he’ll tip his breakfast waitress $20 just for being nice to him, even if it means he has to sit an extra hour on the street corner to make ends meet. He’s a skirmish-loving, dumpster-diving, ego-starved crazy who thinks that he can sing and that all women are in love with him—or should be. His parole officer, an Hispanic woman who tells Pomeroy he’s off-base and he 1) won’t become a rock star, 2) needs to find a decent job, and 3) would be better off if he stayed out of trouble, is totally exasperated by him. But Pomeroy is his own man, takes no advice, and has more wisdom that we’d like to admit. You may find yourself laughing when you shouldn’t. (“A good strong piss is better than sex. Lasts longer too.”) May find his egocentric opinions politically incorrect. ("There ain't a dyke alive ol' Pomeroy can't turn straight.") But don’t blame yourself if you start rooting for this anti-hero, you’ll have a lot of company. (Note: Adult language and situations.)

     Not only does she see him as a friend but she is also madly in love with his brother Andrew who, torn between duty and the strongest feelings of love for his dazzling friend Rebecca, watches his life quickly fall apart. But when an unexpected tragedy hits Godwin Hall and all intentions are being questioned, the manor’s inhabitants will have to face a vicious murderer on the loose and a secret that drives them all into darker realms. *The Obscure Duchess of Godwin Hall is a historical Regency romance novel of 80,000 words (around 400 pages). No cheating, no cliffhangers, and a sweet happily ever after. Get this book for free with Kindle Unlimited!

    One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

    13,000 first printing.

    DEVON 1918. When Jessie Hale loses her nursing job at the end of the First World War, she leaves London to become the nurse maid to the Kendle family in Devon. On arrival she finds the family in disarray. Captain Kendle is a loving father but is traumatised by the war and kept at arm's length by his frosty wife. When their elderly Nanny suffers a bad fall, Jessie has to try to bring the household together. Gradually Jessie finds her place in their lives, becoming devoted to Captain Kendle's lively son Jack, his lovely, but quiet daughter Catherine, as well his invalid Mother. Jessie soon starts to love her life at Kendlebury Hall, but problems arise when her feelings for her employer start to change... What people are saying about JESSIE'S PROMISE: 'A beautiful story very well written' 'I quickly got drawn into this book, the description made me realise how tough life in service was' 'Jessie's Promise is a book that HAS to be devoured this year'