The spunky heroine of Romancing the Dead returns in this utterly bewitching series. Witch Garnet Lacey is ready to walk down the aisle with the super sexy vampire Sebastian. Besides the fact that he has no pulse, things couldn't be more perfect. Until plans for the wedding start falling apart, and Sebastian's zombie-slash-vampire-slash witch ex-lover decides that both of them should be six feet under. It's just a matter of time before Garnet-who's already sharing her body with a short-tempered goddess-morphs into Bridezilla.

"Gilda, a twenty-something, atheist, animal-loving lesbian, cannot stop ruminating about death. Desperate for relief from her panicky mind and alienated from her repressive family, she responds to a flyer for free therapy at a local Catholic church, and finds herself being greeted by Father Jeff, who assumes she's there for a job interview. Too embarrassed to correct him, Gilda is abruptly hired to replace the recently deceased receptionist Grace. In between trying to memorize the lines to Catholic mass, hiding the fact that she has a new girlfriend, and erecting a dirty dish tower in her crumbling apartment, Gilda strikes up an email correspondence with Grace's old friend. She can't bear to ignore the kindly old woman, who has been trying to reach her friend through the church inbox, but she also can't bring herself to break the bad news. Desperate, she begins impersonating Grace via email. But when the police discover suspicious circumstances surrounding Grace's death, Gilda may have to finally reveal the truth of her mortifying existence."--Amazon.

The spunky heroine of Romancing the Dead returns in this utterly bewitching series. Witch Garnet Lacey is ready to walk down the aisle with the super sexy vampire Sebastian. Besides the fact that he has no pulse, things couldn't be more perfect. Until plans for the wedding start falling apart, and Sebastian's zombie-slash-vampire-slash witch ex-lover decides that both of them should be six feet under. It's just a matter of time before Garnet-who's already sharing her body with a short-tempered goddess-morphs into Bridezilla.

Here is the story of Jerry Weintraub: the self-made, Brooklyn-born, Bronx-raised impresario, Hollywood producer, legendary deal maker, and friend of politicians and stars. No matter where nature has placed him--the club rooms of Brooklyn, the Mafia dives of New York's Lower East Side, the wilds of Alaska, or the hills of Hollywood--he has found a way to put on a show and sell tickets at the door. "All life was a theater and I wanted to put it up on a stage," he writes. "I wanted to set the world under a marquee that read: 'Jerry Weintraub Presents.'" In When I Stop Talking, You'll Know I'm Dead, we follow Weintraub from his first great success at age twenty-six with Elvis Presley, whom he took on the road with the help of Colonel Tom Parker; to the immortal days with Sinatra and Rat Pack glory; to his crowning hits as a movie producer, starting with Robert Altman and Nashville, continuing with Oh, God!, The Karate Kid movies, and Diner, among others, and summiting with Steven Soderbergh and Ocean's Eleven, Twelve, and Thirteen. Along the way, we'll watch as Jerry moves from the poker tables of Palm Springs (the games went on for days), to the power rooms of Hollywood, to the halls of the White House, to Red Square in Moscow and the Great Palace in Beijing-all the while counseling potentates, poets, and kings, with clients and confidants like George Clooney, Bruce Willis, George H. W. Bush, Armand Hammer, Brad Pitt, Matt Damon, Bob Dylan, Led Zeppelin, John Denver, Bobby Fischer . . .well, the list goes on forever. And of course, the story is not yet over . . .as the old-timers say, "The best is yet to come." As Weintraub says, "When I stop talking, you'll know I'm dead." With wit, wisdom, and the cool confidence that has colored his remarkable career, Jerry chronicles a quintessentially American journey, one marked by luck, love, and improvisation. The stories he tells and the lessons we learn are essential, not just for those who love movies and music, but for businessmen, entrepreneurs, artists . . . everyone.

"Things You Can do When You're Dead!" by Tricia Robertson is the long awaited book from one of Scotland's foremost psychical researchers. In this book the author shares some of her thirty-year research into mediumship, reincarnation, psychic healing, apparitions, poltergeists, and after death communications. Tricia's refreshing no-nonsense approach to the subject makes for compelling reading and should interest skeptics, believers, and anyone who wants to know what you can do when you're dead!

Dexter Morgan—blood-spatter analyst, husband, father, serial killer—knew that he couldn’t burn the candle at both ends forever, and now, his dark deeds have finally ensnared him. • The Killer Character That Inspired the Hit Showtime Series Dexter He is in prison on multiple homicide charges, although, ironically, he did not commit any of the murders of which he is accused. He’s lost everything: his wife, kids, career, and the loyalty of his sister. Now his sole, small shot at redemption may come from his brother, Brian, a homicidal maniac who makes Dexter look like the angel in the family. By helping Brian through some serious trouble of his own making, Dexter sees a potential path to proving himself innocent. But the stakes are truly deadly. And, with nothing left to hold him back, Dexter hurtles into an epic showdown ... which may be his last.

Bang! I just cut the corner and ran right into this six foot blond guy. I was just about to say Watch where you are going! when I looked up and into the most beautiful eyes I had ever seen. I got a tingle in my body. My cheeks flushed red and all I managed to say was a shy Hi. Those same eyes that held so much promise now filled me with nothing but fear and terror. For the first time I could see clearly that I had to leave him. He will never change. If I stay, I will end up dead! I was now ready to leave him but that option wouldn't be easy. When I leave, I need to leave the country and my family in order to stay alive. I will have to find a way to escape from him because he will never let me go. I take that back, he would let me go, if I left in a casket or if I were dead. Deep down, I already had the answer. I knew what I needed to do, but I took my time to ponder my moves and to plan, and let it sink in. I was planning my escape from him and this nightmare. A plan to save my life!

In his deadliest case yet, Detective Superintendent Roy Grace faces a complex kidnapping in Dead If You Don't, by award winning crime writer Peter James. Now a major ITV series, Grace, starring John Simm. Kipp Brown, successful businessman and compulsive gambler, is on his worst run of luck yet. Taking his teenage son, Mungo, to a football match should have given him a welcome respite – if only for a few hours. But it’s at the stadium where his nightmare begins. Within minutes of arriving at the game, Mungo suddenly disappears and Kipp receives a terrifying message: someone has his child. And, to get him back alive, Kipp will have to pay. Roy Grace is brought in to investigate what seems to be a straightforward case of kidnapping. But, very soon, Grace finds himself entering a dark, criminal underbelly of the city, where the rules are different and nothing is what it seems . . . 'Peter James is one of the best crime writers in the business' – Karin Slaughter, author of The Silent Wife Although the Roy Grace novels can be read in any order, Dead If You Don't is the fourteenth title in the bestselling series. Discover more of the Brighton detective’s investigations with Dead at First Sight and Find Them Dead.

One of the most common—and wounding—misconceptions about literary scholars today is that they simply don’t love books. While those actually working in literary studies can easily refute this claim, such a response risks obscuring a more fundamental question: why should they? That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have played a vital role in the formation of private life—that the love of literature, in other words, is deeply embedded in the history of literature. Yet at the same time, our love is neither self-evident nor ahistorical: our views of books as objects of affection have clear roots in eighteenth- and nineteenth-century publishing, reading habits, and domestic history. While never denying the very real feelings that warm our relationship to books, Loving Literature nonetheless serves as a riposte to those who use the phrase “the love of literature” as if its meaning were transparent. Lynch writes, “It is as if those on the side of love of literature had forgotten what literary texts themselves say about love’s edginess and complexities.” With this masterly volume, Lynch restores those edges and allows us to revel in those complexities.

In People Who Don't Know They're Dead, Gary Leon Hill tells a family story of how his Uncle Wally and Aunt Ruth, Wally's sister, came to counsel dead spirits who took up residence in bodies that didn?t belong to them. And in the telling, Hill elucidates much of what we know, or think we know, about life, death, consciousness, and the meaning of the universe. When people die by accident, in violence, or maybe they're drunk, stoned, or angry, they get freeze-framed. Even if they die naturally but have no clue what to expect, they might not notice they're dead. It's frustrating to see and not be seen. It's frustrating not to know what you're supposed to do next. It's especially frustrating to be in someone else's body and think it's your own. That's if you're dead. If you're alive and that spirit has attached itself to you, well that's a whole other set of frustrations. Wally Johnston, a behavioral psychologist, first started working with a medium in the 70s to help spirits move on to the next stage. Some years after that, Ruth Johnston, an academic psychiatric nurse, who'd become interested in new consciousness and alternative healing, began working with Wally to clear spirits who weren't moving on. These hitchhikers had attached themselves to the auras of living relatives or strangers in an attempt to hold on to a physical existence they no longer need. Through her pendulum, Ruth obtains permission from the higher self of both hitchhiker and host to work with them. Then Wally speaks with them, gently but firmly, to make sure they know they are no longer welcome to inhabit the bodies and wreak havoc on the lives of the living. Hill has woven this fascinating story with the history and theory of what happens at death, with particular emphasis on the last 40 years and the work of such groundbreaking thinkers as Elmer Green, Raymond Moody, William James, Aldous Huxley, Edith Fiore, Martha Rogers, Mark Macy, Elisabeth Kubler-Ross, Bruce Lipton, and a host of others, whose work helps inform our idea of what it is to live and to die. As it turns out, our best defense against hitchhikers is to live consciously. And our best chance of doing that is by paying attention and staying open to possibilities.