2014, ISBN: 9780671794507

Vintage. Very Good. 5.1 x 0.84 x 8 inches. Paperback. 2014. 497 pages. Cover worn.<br>A bestselling dystopian novel that tack les surveillance, privacy and the frightening intrusion… Plus…

Vintage. Very Good. 5.1 x 0.84 x 8 inches. Paperback. 2014. 497 pages. Cover worn.<br>A bestselling dystopian novel that tack les surveillance, privacy and the frightening intrusions of techn ology in our lives--a compulsively readable parable for the 21st century (Vanity Fair). When Mae Holland is hired to work for th e Circle, the world's most powerful internet company, she feels s he's been given the opportunity of a lifetime. The Circle, run ou t of a sprawling California campus, links users' personal emails, social media, banking, and purchasing with their universal opera ting system, resulting in one online identity and a new age of ci vility and transparency. As Mae tours the open-plan office spac es, the towering glass dining facilities, the cozy dorms for thos e who spend nights at work, she is thrilled with the company's mo dernity and activity. There are parties that last through the nig ht, there are famous musicians playing on the lawn, there are ath letic activities and clubs and brunches, and even an aquarium of rare fish retrieved from the Marianas Trench by the CEO. Mae ca n't believe her luck, her great fortune to work for the most infl uential company in the world--even as life beyond the campus grow s distant, even as a strange encounter with a colleague leaves he r shaken, even as her role at the Circle becomes increasingly pub lic. What begins as the captivating story of one woman's ambiti on and idealism soon becomes a heart-racing novel of suspense, ra ising questions about memory, history, privacy, democracy, and th e limits of human knowledge. Editorial Reviews Review Praise fo r The Circle A vivid, roaring dissent to the companies that have coaxed us to disgorge every thought and action onto the Web . . . Carries the potential to change how the world views its addicte d, compliant thrall to all things digital. If you work in Silicon Valley, or just care about what goes on there, you need to pay a ttention. --Dennis K. Berman, The Wall Street Journal Fascinati ng . . . Eggers appears to run on pure adrenaline, and has as man y ideas pouring out of him as the entrepreneurs pitching their in ventions in The Circle . . . [A] novel of ideas . . . about the s ocial construction and deconstruction of privacy, and about the i ncreasing corporate ownership of privacy, and about the effects s uch ownership may have on the nature of Western democracy . . . L ike Melville's Pequod and Stephen King's Overlook Hotel, the Circ le is a combination of physical container, financial system, spir itual state, and dramatis personae, intended to represent America , or at least a powerful segment of it . . . The Circlers' social etiquette is as finely calibrated as anything in Jane Austen . . . Eggers treats his material with admirable inventiveness and gu sto . . . the language ripples and morphs . . . It's an entertain ment, but a challenging one. --Margaret Atwood, The New York Rev iew of Books A parable about the perils of life in a digital age in which our personal data is increasingly collected, sifted and monetized, an age of surveillance and Big Data, in which privacy is obsolete, and Maoist collectivism is the order of the day. Us ing his fluent prose and instinctive storytelling gifts, Mr. Egge rs does a nimble, and sometimes very funny, job of sending up tec hnophiles' navet, self-interest and misguided idealism. As the ar tist and computer scientist Jaron Lanier has done in several grou ndbreaking nonfiction books, Mr. Eggers reminds us how digital ut opianism can lead to the datafication of our daily lives, how a b elief in the wisdom of the crowd can lead to mob rule, how the em brace of 'the hive mind' can lead to a diminution of the individu al. The adventures of Mr. Eggers's heroine, Mae Holland, an ambit ious new hire at the company, provide an object lesson in the dan gers of drinking the Silicon Valley Kool-Aid and becoming a full- time digital ninja . . . Never less than entertaining . . . Egger s is such an engaging, tactile writer that the reader happily fol lows him wherever he's going . . . A fun and inventive read. --Mi chiko Kakutani, The New York Times The particular charm and powe r of Eggers's book . . . could be described as 'topical' or 'time ly,' though those pedestrian words do not nearly capture its imag inative vision . . . Simply a great story, with a fascinating pro tagonist, sharply drawn supporting characters and an exciting, un predictable plot . . . As scary as the story's implications will be to some readers, the reading experience is pure pleasure. --H ugo Lindgren, The New York Times Magazine Eggers is a literary p olymath . . . The Circle is funny in its skewering of Internet cu lture. Holland obsessively tallies the reach of her Twitter-like Zings and enthuses about a benefit for needy children that raises not money but 2.3 million 'smiles' (think Facebook 'likes'). The Circle's buildings are named for epochs, so at her first party H olland gets her wine from the Industrial Revolution . . . The ide as behind The Circle are compelling and deeply contemporary. Holl and is an everywoman, a twentysomething believer in Internet cult ure untroubled by the massive centralization and monetization of information, ubiquitous video surveillance and corporate invasion s of privacy. Compare that to A Hologram for the King, in which a middle-aged man thoughtfully but powerlessly observes America's economic decline, realizing that his efforts to participate in gl obalization led to his own obsolescence. The two books together a re saying something foreboding about America's place in the world : We have traded making physical things for a glossy, meaningless online culture that leaves us vulnerable to those who see that i nformation -- in the form of data, video feeds, or our own consum er desires -- is power. --Carolyn Kellogg, Los Angeles Times You can't really write a 1984 for our times, because 1984 is still t he 1984 of our times. But one could think of Dave Eggers' . . . n ew novel The Circle as a timely and potent appendix to it. The cr ux of The Circle is that Big Brother is still haunting us, but in an incarnation that's both more genial and more insidious. We ha ve met Big Brother, and he is us . . . In The Circle Eggers has s et his style and pace to technothriller: the writing is brisk and spare and efficient . . . When I finished The Circle I felt a he ightened awareness of social media and the way it's remaking our world into a living hell of constant and universal mutual observa tion. --Lev Grossman, Time You may find yourself so engrossed in Dave Eggers's futuristic novel, The Circle, that you forget abou t Facebook entirely. And by the last pages, you may think twice b efore logging on again. --John Freeman, O, The Oprah Magazine B ravely, audaciously . . . [Eggers] takes on the online world in T he Circle, a provocative novel named for the world's most powerfu l Internet firm. Set in the not-so-distant future, the novel is p art satire, part corporate thriller. But mostly it's a cautionary tale about threats to privacy, freedom and democracy. --Bob Mins esheimer, USA Today Page-turning. . . . The social message of th e novel is clear, but Eggers expertly weaves it into an elegantly told, compulsively readable parable for the 21st century. . . . What may be the most haunting discovery about The Circle, however , is readers' recognition that they share the same technology-dri ven mentality that brings the novel's characters to the brink of dysfunction. We too want to know everything by watching, monitori ng, commenting, and interacting, and the force of Eggers's richly allusive prose lies in his ability to expose the potential hazar ds of that impulse. --Laura Christensen, Vanity Fair In this tau t, claustrophobic corporate thriller, Eggers comes down hard on t he culture of digital over-sharing, creating a very-near-future d ystopia in which all that is not forbidden is required. . . . Egg ers has a keen eye for context, and the great strength of The Cir cle lies in its observations about the way instant, asynchronous communication has damaged our personal relationships. . . . A spe culative morality tale in the vein of George Orwell . . . We go o n using the social media platforms that have been used against us ; we post geo-tagged photos that could lead potential criminals s traight to our private homes and our children's preschools, and w e do all of this with full knowledge of the possible consequences . We have closed our eyes and given our consent. Everyone else is doing it. In the digital age, it is better to be unsafe than to be left out. --G. Willow Wilson, San Francisco Chronicle Eggers surveys our privacy-annihilating, social media-infested world, re coils in horror at the inevitable consequences, and unleashes a p rimal scream: Enough! Stop! Stop liking and sharing and tweeting and texting! Stop it all! Readers who share Eggers' concerns abou t the Facebook-opticon, the surveillance state that leaves no shr ed of daily life unscrutinized, this superficial, hollow sense of community spaned by digital connectivity will flock to stand bef ore this brave rallying flag. . . . The world that the Circle is delivering to the online masses is very much our world. This isn' t science fiction . . . We need a legion of Dave Eggers in the wo rld today, calling out the dangers. --Andrew Leonard, Salon Egge rs's works pulse with life . . . The Circle pushes his art even f urther . . . Eggers's work, part dark comedy, part sobering glimp se into the near-future, stuns for two reasons: Mae's humanity an d compassion are apparent even as she helps erode our civil liber ties; and two, it doesn't feel like science fiction. It feels lik e the next horrific--but very plausible--small step for mankind. --Josh Davis, Time Out New York, five stars You can't read The C ircle, Dave Eggers's novel about a powerful internet company, and not recognize the book's dystopian vision in our own obsessions with sharing and social media. The novel, set in the near future, is an engaging mix of social satire and cautionary tale . . . ca ptures the perils of the internet -- and, in particular, the over -the-top utopianism sometimes espoused by technology executives - - more than any other novel of recent years . . . both hilarious and foreboding. --Allan Hoffman, The New Jersey Star-Ledger Ripp ed from recent headlines about privacy, technology and social med ia . . . A book that begins as a lighthearted cautionary tale gro ws into a claustrophobic portrait of relentless effort to achieve the culmination of 'closing the Circle.' --Richard Galant, CNN Entertaining . . . A sense of horror finally arrives near the end of the book, coming . . . through the power of Eggers's writing . . . The final scene is chilling. --Ellen Ullman, The New York Times Book Review Gripping . . . Set in the not-too-distant futu re, Eggers' story takes us inside a shiny-happy California-based media corporation called the Circle . . . a compelling exploratio n of how individuals excitedly opt into a corporately-controlled culture of complete surveillance billed as a 'community,' transfo rming 'privacy' into a quaint notion possessed only by the nostal gic . . . The Circle's brilliance lies in convincingly taking us inside an extreme vision of what is nascent in the 21st century c yber-utopianism we all endorse, showing us how the visions of dig ital media moguls are championed and propagated by an overly-will ing society . . . Eggers creates for us a surprisingly contempora ry world that seems strangely familiar to regular social media us ers -- a world into which all of us excitedly join without much p rompting. --Rob Williams, PolicyMic What fuels this novel is its thunderbolt of an idea: digital culture is suffocating us and, w hat's more, is doing so under the duplicitous guise of widespread human beneficence . . . This is a novel about the silence inside your head . . . a powerful argument for turning off your iPhone and going for a walk. --Alexander Nazaryan, Newsweek Dave Eggers is fast becoming one of our fiercest and most compelling writers on the dark side of technology. [The Circle] is a gripping and h ighly unsettling read. --Edmund Gordon, The Sunday Times (UK) It has taken Eggers the 13 years since his breakout memoir to give us a book that truly matched A Heartbreaking Work's gravitas -- b ut with The Circle, Eggers has given us everything . . . when you put down the book and go to check your email, you might just rea lize that we are living the fiction . . . [The Circle] takes plac e before a fall that we might really be approaching, and it's thi s compelling sense of impending, unpredictable doom that makes th is work of fiction feel very real, and very necessary. --Jason Di amond, Flavorwire Dave Eggers' real heartbreaking work of stagge ring genius might be this one. The Circle is today's version of d ystopian classics such as George Orwell's 1984 or Aldous Huxley's Brave New World. Eggers' novel is terrifying, funny, real, suspe nseful and visionary . . . Always keeping the focus on Mae, Egger s brings up all the Big Brother issues of our time: privacy, demo cracy, memory, history and the quality of how we're connecting. - -Holly Silva, St. Louis Post-Dispatch Eggers has updated Orwell' s vision by inverting it. In 1984, the members of the Party are w atched by Big Brother; in The Circle, it is the people who watch the government . . . Perhaps our need for privacy will erode as t echnology continues to develop and the world continues to change. Or perhaps humans will still occasionally cling to the need for privacy simply because it is an essential quality of being 'human .' Either way, the fact that these questions linger long after fi nishing this book is a testament to the multiple layers and poten tial lasting impact of The Circle. --Karl Hendricks, Pittsburgh P ost-Gazette The Circle is a deft modern synthesis of Swiftian wi t with Orwellian prognostication . . . a work so germane to our t imes that it may well come to be considered as the most on-the-mo ney satirical commentary on the early internet age . . . The page s are full of clever, plausible, unnerving ideas that I suspect a re being developed right now . . . The book is also very funny . . . A prescient, important and enjoyable book, and what I love mo st about The Circle is that it is telling us so much about the im pact of the computer age on human beings in the only form that ca n do so with the requisite wit, interiority and p, Vintage, 2014, 3, Vintage International. Very Good. 4.37 x 0.75 x 7.13 inches. Paperback. 2006. 272 pages. <br>Survivor, genius, perfumer, killer: this is Jean-B aptiste Grenouille. He is abandoned on the filthy streets of Pari s as a child, but grows up to discover he has an extraordinary gi ft: a sense of smell more powerful than any other human's. Soon, he is creating the most sublime fragrances in all the city. Yet t here is one odor he cannot capture. It is exquisite, magical: the scent of a young virgin. And to get it he must kill. And kill. A nd kill... Editorial Reviews From Library Journal Penguin's una bridged production of this international best seller is a thoroug hly captivating production. Suskind's demented protagonist, Jean- Baptist Grenouille, is a gifted abomination whose highly develope d sense of smell could easily make him the greatest perfumer of a ll time. Given the general stench of 18th-century cities, good pe rfumers were held in high regard. However, Grenouille the misfit, scorned by society throughout his life, hasn't the heart to crea te pretty perfumes for society's elite. When he finally does earn the adoration of the masses through his twisted genius, he decid es that he would much prefer to exterminate all these stupid, sti nking people from the earth. Reader Sean Barrett does not overdra matize the often sensational events here but instead relates them with a measured, detached air that perfectly captures Suskind's cool tone. Also, his reserved narrative style allows listeners to appreciate Suskind's expert use of language (passages from this novel can be found in dictionaries of similes). This extraordinar y production is highly recommended for all serious fiction collec tions.?Beth Farrell, Portage Cty. Dist. Lib., Ohio Copyright 1997 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title. From the Inside Flap An acclaimed bestseller and international sensation, Patrick Sus kind's classic novel provokes a terrifying examination of what ha ppens when one man's indulgence in his greatest passion-his sense of smell-leads to murder. In the slums of eighteenth-century Fr ance, the infant Jean-Baptiste Grenouille is born with one sublim e gift-an absolute sense of smell. As a boy, he lives to decipher the odors of Paris, and apprentices himself to a prominent perfu mer who teaches him the ancient art of mixing precious oils and h erbs. But Grenouille's genius is such that he is not satisfied to stop there, and he becomes obsessed with capturing the smells of objects such as brass doorknobs and frest-cut wood. Then one day he catches a hint of a scent that will drive him on an ever-more -terrifying quest to create the ultimate perfume-the scent of a b eautiful young virgin. Told with dazzling narrative brillance, Pe rfume is a hauntingly powerful tale of murder and sensual depravi ty. Translated by John E. Woods A fable of crimial genius.... R emarkable. --The New York Times Superb storytelling all the way ...the climax is a savage shocker. --The Plain Dealer An astonis hing performance, a masterwork of artistic conception and executi on. A totally gripping page-turner. --The San Francisco Chronicl e --This text refers to an out of print or unavailable edition of this title. From the Back Cover Superb storytelling all the way ...the climax is a savage shocker.-The Cleveland Plain Dealer --T his text refers to an out of print or unavailable edition of this title. Review A fable of crimial genius.... Remarkable. -The Ne w York Times Mesmerizing from first page to last.... A highly so phisticated horror tale. -The Plain Dealer A supremely accomplis hed work of art, marvelously crafted and enjoyable and rich in hi storical detail. -The San Francisco Chronicle An original and as tonishing novel. -People An ingenious story...about a most exoti c monster.... Suspense build up steadily. -Los Angeles Times Imm ensely seductive.... Storytelling at its best. -The Kansas City S tar --This text refers to an out of print or unavailable edition of this title. From AudioFile In leisurely, aristocratic measure s soaked with irony, PERFUME unfolds the gruesome, picaresque all egory of an olfactory genius-monster--a murderous perfumer of dec adent eighteenth-century France. Sean Barrett gives a masterfully effete reading, with flawless articulations of character and wic ked, understated nuances. He wisely plays the humor not at all, i nstead accentuating a kind of connoisseur's study of the Grand Gu ignol. Eschewing overtly Gallic inflections, he puts pre-Revoluti onary France in his voice merely through lightness of touch. A fe ast for lovers of voluptuous language, sly wit and epicurean mayh em. Y.R. Winner of AUDIOFILE's Earphones Award. (c)AudioFile, Por tland, Maine --This text refers to an out of print or unavailable edition of this title. Excerpt. Reprinted by permission. All r ights reserved. 1 In eighteenth-century France there lived a man who was one of the most gifted and abominable personages in an e ra that knew no lack of gifted and abominable personages. His sto ry will be told here. His name was Jean-Baptiste Grenouille, and if his name-in contrast to the names of other gifted abominations , de Sade's, for instance, or Saint-Just's, Fouch?'s, Bonaparte's , etc.-has been forgotten today, it is certainly not because Gren ouille fell short of those more famous blackguards when it came t o arrogance, misanthropy, immorality, or, more succinctly, to wic kedness, but because his gifts and his sole ambition were restric ted to a domain that leaves no traces in history: to the fleeting realm of scent. In the period of which we speak, there reigned in the cities a stench barely conceivable to us modern men and wo men. The streets stank of manure, the courtyards of urine, the st airwells stank of moldering wood and rat droppings, the kitchens of spoiled cabbage and mutton fat; the unaired parlors stank of s tale dust, the bedrooms of greasy sheets, damp featherbeds, and t he pungently sweet aroma of chamber pots. The stench of sulfur ro se from the chimneys, the stench of caustic lyes from the tanneri es, and from the slaughterhouses came the stench of congealed blo od. People stank of sweat and unwashed clothes; from their mouths came the stench of rotting teeth, from their bellies that of oni ons, and from their bodies, if they were no longer very young, ca me the stench of rancid cheese and sour milk and tumorous disease . The rivers stank, the marketplaces stank, the churches stank, i t stank beneath the bridges and in the palaces. The peasant stank as did the priest, the apprentice as did his master's wife, the whole of the aristocracy stank, even the king himself stank, stan k like a rank lion, and the queen like an old goat, summer and wi nter. For in the eighteenth century there was nothing to hinder b acteria busy at decomposition, and so there was no human activity , either constructive or destructive, no manifestation of germina ting or decaying life that was not accompanied by stench. And of course the stench was foulest in Paris, for Paris was the larges t city of France. And in turn there was a spot in Paris under the sway of a particularly fiendish stench: between the rue aux Fers and the rue de la Ferronnerie, the Cimeti?re des Innocents to be exact. For eight hundred years the dead had been brought here fr om the H?tel-Dieu and from the surrounding parish churches, for e ight hundred years, day in, day out, corpses by the dozens had be en carted here and tossed into long ditches, stacked bone upon bo ne for eight hundred years in the tombs and charnel houses. Only later-on the eve of the Revolution, after several of the grave pi ts had caved in and the stench had driven the swollen graveyard's neighbors to more than mere protest and to actual insurrection-w as it finally closed and abandoned. Millions of bones and skulls were shoveled into the catacombs of Montmartre and in its place a food market was erected. Here, then, on the most putrid spot in the whole kingdom, Jean-Baptiste Grenouille was born on July 17, 1738. It was one of the hottest days of the year. The heat lay l eaden upon the graveyard, squeezing its putrefying vapor, a blend of rotting melon and the fetid odor of burnt animal horn, out in to the nearby alleys. When the labor pains began, Grenouille's mo ther was standing at a fish stall in the rue aux Fers, scaling wh iting that she had just gutted. The fish, ostensibly taken that v ery morning from the Seine, already stank so vilely that the smel l masked the odor of corpses. Grenouille's mother, however, perce ived the odor neither of the fish nor of the corpses, for her sen se of smell had been utterly dulled, besides which her belly hurt , and the pain deadened all susceptibility to sensate impressions . She only wanted the pain to stop, she wanted to put this revolt ing birth behind her as quickly as possible. It was her fifth. Sh e had effected all the others here at the fish booth, and all had been stillbirths or semi-stillbirths, for the bloody meat that e merged had not differed greatly from the fish guts that lay there already, nor had lived much longer, and by evening the whole mes s had been shoveled away and carted off to the graveyard or down to the river. It would be much the same this day, and Grenouille' s mother, who was still a young woman, barely in her mid-twenties , and who still was quite pretty and had almost all her teeth in her mouth and some hair on her head and-except for gout and syphi lis and a touch of consumption-suffered from no serious disease, who still hoped to live a while yet, perhaps a good five or ten y ears, and perhaps even to marry one day and as the honorable wife of a widower with a trade or some such to bear real children . . . Grenouille's mother wished that it were already over. And when the final contractions began, she squatted down under the guttin g table and there gave birth, as she had done four times before, and cut the newborn thing's umbilical cord with her butcher knife . But then, on account of the heat and the stench, which she did not perceive as such but only as an unbearable, numbing something -like a field of lilies or a small room filled with too many daff odils-she grew faint, toppled to one side, fell out from under th e table into the street, and lay there, knife in hand. Tumult an d turmoil. The crowd stands in a circle around her, staring, some one hails the police. The woman with the knife in her hand is sti ll lying in the street. Slowly she comes to. What has happened t o her? Nothing. What is she doing with that knife? Nothing. W here does the blood on her skirt come from? From the fish. She stands up, tosses the knife aside, and walks off to wash. And th en, unexpectedly, the infant under the gutting table begins to sq uall. They have a look, and beneath a swarm of flies and amid the offal and fish heads they discover the newborn child. They pull it out. As prescribed by law, they give it to a wet nurse and arr est the mother. And since she confesses, openly admitting that sh e would definitely have let the thing perish, just as she had wit h those other four by the way, she is tried, found guilty of mult iple infanticide, and a few weeks later decapitated at the place de Gr?ve. By that time the child had already changed wet nurses three times. No one wanted to keep it for more than a couple of d ays. It was too greedy, they said, sucked as much as two babies, deprived the other sucklings of milk and them, the wet nurses, of their livelihood, for it was impossible to make a living nursing just one babe. The police officer in charge, a man named La Foss e, instantly wearied of the matter and wanted to have the child s ent to a halfway house for foundlings and orphans at the far end of the rue Saint-Antoine, from which transports of children were dispatched daily to the great public orphanage in Rouen. But sinc e these convoys were made up of porters who carried bark baskets into which, for reasons of economy, up to four infants were place d at a time; since therefore the mortality rate on the road was e xtraordinarily high; since for that reason the porters were urged to convey only baptized infants and only those furnished with an official certificate of transport to be stamped upon arrival in Rouen; since the babe Grenouille had neither been baptized nor re ceived even so much as a name to inscribe officially on the certi ficate of transport; since, moreover, it would not have been good form for the police anonymously to set a child at the gates of t he halfway house, which would have been the only way to dodge the other formalities . . . thus, because of a whole series of burea ucratic and administrative difficulties that seemed likely to occ ur if the child were shunted aside, and because time was short as well, officer La Fosse revoked his original decision and gave in structions for the boy to be handed over on written receipt to so me ecclesiastical institution or other, so that there they could baptize him and decide his further fate. He got rid of him at the cloister of Saint-Merri in the rue Saint-Martin. There they bapt ized him with the name Jean-Baptiste. And because on that day the prior was in a good mood and the eleemosynary fund not yet exhau sted, they did not have the child shipped to Rouen, but instead p ampered him at the cloister's expense. To this end, he was given to a wet nurse named Jeanne Bussie who lived in the rue Saint-Den is and was to receive, until further notice, three francs per wee k for her trouble. 2 A few weeks later, the wet nurse Jeanne Bu ssie stood, market basket in hand, at the gates of the cloister o f Saint-Merri, and the minute they were opened by a bald monk of about fifty with a light odor of vinegar about him-Father Terrier -she said There! and set her market basket down on the threshold. What's that? asked Terrier, bending down over the basket and sn iffing at it, in the hope that it was something edible. The bast ard of that woman from the rue aux Fers who killed her babies! T he monk poked about in the basket with his finger till he had exp osed the face of the sleeping infant. He looks good. Rosy pink a nd well nourished. Because he's stuffed himself on me. Because h e's pumped me dry down to the bones. But I've put a stop to that. Now you can feed him yourselves with goat's milk, with pap, with beet juice. He'll gobble up anything, that bastard will. Father Terrier was an easygoing man. Among his duties was the administr ation of the cloister's charities, the distribution of its moneys to the poor and needy. And for that he expected a, Vintage International, 2006, 3, -: Boxtree, 1994. Paperback. Good. -. A book featuring the personal philosophy of life of Gordon Brittas of the BBC TV situation comedy, ""The Brittas Empire"". He`s a dedicated man, a man with a dream, a man with drive and ambition, but a man with absolutely no sensitivity whatsoever., Boxtree, 1994, 2.5, Simon and Schuster, USA, 1984. Paperback. Fair. Paperback. 880 pages. *** PUBLISHING DETAILS: Simon and Schuster, USA, 1984. *** CONDITION: Fair ... Covers have moderate creasing. Edges of covers have moderate wear. Spine has moderate lean and heavy reading creases. Pages are reasonably tanned. Damage to front cover in several places. *** ABOUT THIS BOOK: With all the brio and brass of her best-selling debut novel, The First Wives Club, Olivia Goldsmith now turns to Hollywood - with this sharp, sassy Cinderella story, updated nineties style. Actress Mary Jane Moran - never a beauty - has just lost not only the off-Broadway role she created but also the only man she ever loved. Hollywood has stolen both, and rejected her as too fat, too plain, and at thirty-four, too old for the movie version. She has no power as an actress or a woman. After the despair and rage pass Mary Jane comes to a decision. She is determined to buy the one thing that might really change her life: beauty. Two years, forty pounds, sixty-seven thousand dollars, and an excruciating series of surgeries later, Mary Jane emerges as Jahne Moore - thin, gorgeous, and ready for the big time. In L.A. at last, she lands a part in TV's hottest new series, Three for the Road. Starring with Jahne are two other beauties with pasts of their own to overcome: Sharleen Smith, raised in a trailer in dirt-poor Texas, ignorant and eager to please, an easy mark for a rogue's gallery of Hollywood hustlers; and Lila Kyle, child of Hollywood, whose driving ambition - to surpass her famous mother in everything - will goad her to risk all in her obsessive desire to be the only star of Three for the Road. As these three "virgins" rocket into the celebrity stratosphere, their pasts resurface in disturbing, outrageous, and scandalous ways. All of them are desired - the fantasy of every man, the envy of every woman. The man who broke Mary Jane's heart, now a successful director, pursues Jahne both to star in his new film and to become his lover. Jahne, in longing and fear, awaits his recognitionof her. Meanwhile Sharleen's childhood traumas scream from every tabloid. Lila Kyle loses her virginity in a career move and gains the leverage to discredit the other two women. But her plan backfires, resulting in the biggest Hollywood scandal of all time, one that threatens to t *** Quantity Available: 1. Category: Fiction; Romance & Women's Fiction; ISBN: 0671794507. ISBN/EAN: 9780671794507. Inventory No: 20120620.. 9780671794507, Simon and Schuster, 1984, 2<

1984, ISBN: 9780671794507

n this heartfelt Southern love story from the #1 New York Times bestselling author of The Notebook, a daring fireman rescues a single momand learns that falling in love is the greatest ri… Plus…

n this heartfelt Southern love story from the #1 New York Times bestselling author of The Notebook, a daring fireman rescues a single momand learns that falling in love is the greatest risk of all.When confronted by raging fires or deadly accidents, volunteer fireman Taylor McAden feels compelled to take terrifying risks to save lives. But there is one leap of faith Taylor can't bring himself to make: he can't fall in love. For all his adult years, Taylor has sought out women who need to be rescued, women he leaves as soon as their crisis is over and the relationship starts to become truly intimate.When a raging storm hits his small Southern town, single mother Denise Holton's car skids off the road. The young mom is with her four-year-old son Kyle, a boy with severe learning disabilities and for whom she has sacrificed everything. Taylor McAden finds her unconscious and bleeding, but does not find Kyle. When Denise wakes, the chilling truth becomes clear to both of them. Kyle is gone. During the search for Kyle, a connection between Taylor and Denise takes root. But Taylor doesn't know that this rescue will be different from all the others., Grand Central Publishing, 3, Simon and Schuster, USA, 1984. Paperback. Fair. Paperback. 880 pages. *** PUBLISHING DETAILS: Simon and Schuster, USA, 1984. *** CONDITION: This book is in fair condition. More specifically: Covers have moderate creasing. Edges of covers have moderate wear. Spine has moderate lean and heavy reading creases. . Pages are reasonably tanned. Damage to front cover in several places. *** ABOUT THIS BOOK: With all the brio and brass of her best-selling debut novel, The First Wives Club, Olivia Goldsmith now turns to Hollywood - with this sharp, sassy Cinderella story, updated nineties style. Actress Mary Jane Moran - never a beauty - has just lost not only the off-Broadway role she created but also the only man she ever loved. Hollywood has stolen both, and rejected her as too fat, too plain, and at thirty-four, too old for the movie version. She has no power as an actress or a woman. After the despair and rage pass Mary Jane comes to a decision. She is determined to buy the one thing that might really change her life: beauty. Two years, forty pounds, sixty-seven thousand dollars, and an excruciating series of surgeries later, Mary Jane emerges as Jahne Moore - thin, gorgeous, and ready for the big time. In L.A. at last, she lands a part in TV's hottest new series, Three for the Road. Starring with Jahne are two other beauties with pasts of their own to overcome: Sharleen Smith, raised in a trailer in dirt-poor Texas, ignorant and eager to please, an easy mark for a rogue's gallery of Hollywood hustlers; and Lila Kyle, child of Hollywood, whose driving ambition - to surpass her famous mother in everything - will goad her to risk all in her obsessive desire to be the only star of Three for the Road. As these three "virgins" rocket into the celebrity stratosphere, their pasts resurface in disturbing, outrageous, and scandalous ways. All of them are desired - the fantasy of every man, the envy of every woman. The man who broke Mary Jane's heart, now a successful director, pursues Jahne both to star in his new film and to become his lover. Jahne, in longing and fear, awaits his recognitionof her. Meanwhile Sharleen's childhood traumas scream from every tabloid. Lila Kyle loses her virginity in a career move and gains the leverage to discredit the other two women. But her plan backfires, resulting in the biggest Hollywood scandal of all time, one that threatens to t *** Quantity Available: 1. Category: Fiction; Romance & Women's Fiction; ISBN: 0671794507. ISBN/EAN: 9780671794507. Inventory No: 20120620.. 9780671794507, Simon and Schuster, 1984, 2<

1984, ISBN: 9780671794507

Simon and Schuster, USA, 1984. Paperback. Fair. Paperback. 880 pages. *** PUBLISHING DETAILS: Simon and Schuster, USA, 1984. *** CONDITION: This book is in fair condition. More speci… Plus…

Simon and Schuster, USA, 1984. Paperback. Fair. Paperback. 880 pages. *** PUBLISHING DETAILS: Simon and Schuster, USA, 1984. *** CONDITION: This book is in fair condition. More specifically: Covers have moderate creasing. Edges of covers have moderate wear. Spine has moderate lean and heavy reading creases. . Pages are reasonably tanned. Damage to front cover in several places. *** ABOUT THIS BOOK: With all the brio and brass of her best-selling debut novel, The First Wives Club, Olivia Goldsmith now turns to Hollywood - with this sharp, sassy Cinderella story, updated nineties style. Actress Mary Jane Moran - never a beauty - has just lost not only the off-Broadway role she created but also the only man she ever loved. Hollywood has stolen both, and rejected her as too fat, too plain, and at thirty-four, too old for the movie version. She has no power as an actress or a woman. After the despair and rage pass Mary Jane comes to a decision. She is determined to buy the one thing that might really change her life: beauty. Two years, forty pounds, sixty-seven thousand dollars, and an excruciating series of surgeries later, Mary Jane emerges as Jahne Moore - thin, gorgeous, and ready for the big time. In L.A. at last, she lands a part in TV's hottest new series, Three for the Road. Starring with Jahne are two other beauties with pasts of their own to overcome: Sharleen Smith, raised in a trailer in dirt-poor Texas, ignorant and eager to please, an easy mark for a rogue's gallery of Hollywood hustlers; and Lila Kyle, child of Hollywood, whose driving ambition - to surpass her famous mother in everything - will goad her to risk all in her obsessive desire to be the only star of Three for the Road. As these three "virgins" rocket into the celebrity stratosphere, their pasts resurface in disturbing, outrageous, and scandalous ways. All of them are desired - the fantasy of every man, the envy of every woman. The man who broke Mary Jane's heart, now a successful director, pursues Jahne both to star in his new film and to become his lover. Jahne, in longing and fear, awaits his recognitionof her. Meanwhile Sharleen's childhood traumas scream from every tabloid. Lila Kyle loses her virginity in a career move and gains the leverage to discredit the other two women. But her plan backfires, resulting in the biggest Hollywood scandal of all time, one that threatens to t *** Quantity Available: 1. Category: Fiction; Romance & Women's Fiction; ISBN: 0671794507. ISBN/EAN: 9780671794507. Inventory No: 20120620.. 9780671794507, Simon and Schuster, 1984, 2<

1984, ISBN: 9780671794507

Simon and Schuster, USA, 1984. Paperback. Fair. Paperback. 880 pages. *** PUBLISHING DETAILS: Simon and Schuster, USA, 1984. *** CONDITION: Fair ... Covers have moderate creasing. Ed… Plus…

Simon and Schuster, USA, 1984. Paperback. Fair. Paperback. 880 pages. *** PUBLISHING DETAILS: Simon and Schuster, USA, 1984. *** CONDITION: Fair ... Covers have moderate creasing. Edges of covers have moderate wear. Spine has moderate lean and heavy reading creases. Pages are reasonably tanned. Damage to front cover in several places. *** ABOUT THIS BOOK: With all the brio and brass of her best-selling debut novel, The First Wives Club, Olivia Goldsmith now turns to Hollywood - with this sharp, sassy Cinderella story, updated nineties style. Actress Mary Jane Moran - never a beauty - has just lost not only the off-Broadway role she created but also the only man she ever loved. Hollywood has stolen both, and rejected her as too fat, too plain, and at thirty-four, too old for the movie version. She has no power as an actress or a woman. After the despair and rage pass Mary Jane comes to a decision. She is determined to buy the one thing that might really change her life: beauty. Two years, forty pounds, sixty-seven thousand dollars, and an excruciating series of surgeries later, Mary Jane emerges as Jahne Moore - thin, gorgeous, and ready for the big time. In L.A. at last, she lands a part in TV's hottest new series, Three for the Road. Starring with Jahne are two other beauties with pasts of their own to overcome: Sharleen Smith, raised in a trailer in dirt-poor Texas, ignorant and eager to please, an easy mark for a rogue's gallery of Hollywood hustlers; and Lila Kyle, child of Hollywood, whose driving ambition - to surpass her famous mother in everything - will goad her to risk all in her obsessive desire to be the only star of Three for the Road. As these three "virgins" rocket into the celebrity stratosphere, their pasts resurface in disturbing, outrageous, and scandalous ways. All of them are desired - the fantasy of every man, the envy of every woman. The man who broke Mary Jane's heart, now a successful director, pursues Jahne both to star in his new film and to become his lover. Jahne, in longing and fear, awaits his recognitionof her. Meanwhile Sharleen's childhood traumas scream from every tabloid. Lila Kyle loses her virginity in a career move and gains the leverage to discredit the other two women. But her plan backfires, resulting in the biggest Hollywood scandal of all time, one that threatens to t *** Quantity Available: 1. Category: Fiction; Romance & Women's Fiction; ISBN: 0671794507. ISBN/EAN: 9780671794507. Inventory No: 20120620.. 9780671794507, Simon and Schuster, 1984, 2<