A humorous book about a very naughty English Springer Spaniel who raises havoc with the waterfowl along the Chagrin River.

A quilt, a secret message, a dog, and a possible treasure make for an unforgettable Christmas!

A HEARTWARMING SOUTHERN SAGA ...from a USA Today Bestselling Author of Women's Fiction. Recently widowed Ida Sweetwater's son is missing and she's determined to find him even if it costs her everything she owns. Emptying out her bank account she hires a detective to search for the boy. When the money runs out Ida turns her cozy home into a boarding house to make ends meet. Although there is no trace of the missing son, the detective turns up a granddaughter Ida never knew she had. Anticipating the girl's arrival, Ida goes in search of a used bedroom set and discovers the Previously Loved Treasures shop. The delightfully strange proprietor, Peter Pennington, knows she is coming and knows what she wants. In addition to anticipating people's needs, and offering bargain prices, Peter hands out sage advice. When a pocket watch belonging to one of the residents goes missing for a second time he warns of danger—but will Ida’s granddaughter listen and will she heed his advice? Previously Loved Treasures is an uplifting story that resonates with Crosby’s heartwarming albeit quirky characters and the joy of Catherine Ryan Hyde’s Pay-it-Forward philosophy. If you've read The Twelfth Child you won't want to miss this exciting sequel that solves the mystery of the missing bonds.

Although published many decades ago, William Gaddis's The Recognitions is only now beginning to receive the critical attention it deserves. Carnival of Repetition, the first full-length study of the novel, is a sophisticated analysis that places it in a new literary and cultural context . This novel of the 1950 s is unlike anything else from that decade. It harks back to the works of high modernism (exemplified by Joyce's Ulysses) and looks forward to postmodern fiction (especially as practiced by Barth, Pynchon, and DeLillo). Imitation is its major theme, one that Gaddis pursues on many levels, across several continents, into mazes of arcane knowledge and bogus scholarship, and even into the novel's structure through the repetition of prior texts and the interplay between literal and disguised quotation. Through an endless play of repetition, Gaddis con­founds the reader's recognition of similarity and difference. Johnston uses the theories of Bakhtin and Deleuze (and others, such as Julia Kristeva) to map out a context for this most unusual and difficult work. From Bakhtin, he appropriates the concepts of "carnivalesque" fiction and dialogism (or a plurality of independent voices, no one more important than another). From Deleuze, he borrows the idea of the simulacrum, a copy that presupposes no original and that becomes meaningful through a process of infinite repetition. With these instruments, Johnston analyzes the labyrinth of copy and counterfeit that Gaddis constructs in his novel.

When Billy Glasheen picks up a trashy paperback he finds in his cab, its plot seems weirdly familiar. One of the main characters is based on him . . . Only one person knows enough about his past to have written it—Max, his double-crossing ex-partner in crime. But Max is dead. He famously went up in flames, along with a fortune in cash, after a bank heist. If Max is somehow still alive, Billy has a score to settle. And if he didn’t get fried to a crisp, maybe the money didn’t either. To find out, Billy has to follow the clues in the strange little book—and rapidly discovers he’s not the only one on Max’s trail. The Big Whatever is the fourth instalment of Peter Doyle’s acclaimed series, which has grown into an epic underground history of postwar Australia, where crooks, entertainers, scammers, corrupt cops and politicians all rub shoulders, chasing their big paydays.

Eight-year-old Josh Schuler has been kidnapped. When his grandfather, Max Schuler, is called with demands, hes cautioned not to call the police. He decides to call his long time friend, Grant Franklin instead. Grant, and ex-Navy SEAL Ron Mize, show up to see what they can do, and in short order discover just how serious the situation really is. It doesnt take them long to decide that, not only do they need to save the boy, but they need to make sure that this cant happen again. The quest takes them from Chicago, and the waters of Lake Michigan, to the mountains of eastern Oregon. With their old friend, Frank Kerin, and using cars, trucks, boats, airplanes, and even horses, one bit of information leads to another until a shootout right out of the Old West decides the outcome.

THE CAMERONS OF COLORADO The third book in an irresistible family trilogy by the acclaimed author of The Taggarts of Texas! From the bestselling author of THE TAGGARTS OF TEXAS! Comes THE CAMERONS OF COLORADO Cupid, Colorado. This is ranch country, cowboy country—a land of high mountains and swift, cold rivers, of deer, elk and bear. The first Cameron came to Colorado more than a hundred years ago, and Camerons have owned and worked the Straight Arrow Ranch—the largest spread in these parts—ever since. Horse rustling! In Cupid!—where the locals take their horses "real serious and real personal." Julie Cameron, for instance, believes hanging's too good for horse thieves. They ought to be drawn and quartered! And she's out to single-handedly bring down the gang, an ambition that doesn't make undercover cop Max Mackenzie's job any easier. Still, it's a great reason to cozy up to the prettiest gal in town…. For kids and kisses, tears and laughter, wild horses and wilder men—come to the Straight Arrow Ranch, near Cupid, Colorado. Come meet the Camerons.

Reproduction of the original: The Keeper of the Door by Ethel M. Dell

Satirizing Modernism examines 20th-century novels that satirize avant-garde artists and authors while also using experimental techniques associated with literary modernism. These novels-such as Wyndham Lewis's The Apes of God, William Gaddis's The Recognitions, and Gilbert Sorrentino's Imaginative Qualities of Actual Things-were under-recognized and received poor reviews at the time of publication, but have increasingly been acknowledged as both groundbreaking and deeply influential. Satirizing Modernism analyzes these novels in order to present an alternative account of literary modernism, which should be viewed neither as a radical break with the past nor an outmoded set of aesthetics overtaken by a later postmodernism. In self-reflexively critiquing their own aesthetics, these works express an unconventional modernism that both revises literary history and continues to be felt today.