Peril at End House

‘Every woman should own a copy of this book’ Erin Kelly author of He Said/She SaidUntil recently, Julia hadn’t had sex in three years.But now:• a one-night stand is accusing her of breaking his penis;• a sexually confident lesbian is making eyes at her over confrontational modern art;• and she’s about to learn that she’s been looking for love – and satisfaction – in all the wrong places.Frank, filthy and very, very funny, In at the Deep End is a brilliant debut from a major new talent.#ImInAtTheDeepEnd

SHORTLISTED FOR THE BOLLINGER EVERYMAN WODEHOUSE PRIZE 2019‘Fleabag-level dirty jokes, Eleanor Oliphant-levels of empathy’ Grazia ‘Fresh and funny’ Guardian ‘Brilliant’ Stylist ‘Every woman should own a copy of this book’ Erin Kelly ‘I love this book!’ Josie LongUntil recently, Julia hadn’t had sex in three years.But now: • a one-night stand is accusing her of breaking his penis;• a sexually confident lesbian is making eyes at her over confrontational modern art;• and she’s wondering whether trimming her pubes makes her a bad feminist.Julia’s about to learn that she’s been looking for love – and satisfaction – in all the wrong places…‘Frank, funny and fabulously filthy’ (Erin Kelly), In at the Deep End is a warm, brilliantly observed debut from a major new talent.#ImInAtTheDeepEnd

Right. Wrong. Life is lived somewhere in between.Duchess Day Radley is a thirteen-year-old self-proclaimed outlaw. Rules are for other people. She is the fierce protector of her five-year-old brother, Robin, and the parent to her mother, Star, a single mom incapable of taking care of herself, let alone her two kids.Walk has never left the coastal California town where he and Star grew up. He may have become the chief of police, but he’s still trying to heal the old wound of having given the testimony that sent his best friend, Vincent King, to prison decades before. And he's in overdrive protecting Duchess and her brother.Now, thirty years later, Vincent is being released. And Duchess and Walk must face the trouble that comes with his return. We Begin at the End is an extraordinary novel about two kinds of families―the ones we are born into and the ones we create.

Right. Wrong. Life is lived somewhere in between. Duchess Day Radley is a thirteen-year-old self-proclaimed outlaw. Rules are for other people. She is the fierce protector of her five-year-old brother, Robin, and the parent to her mother, Star, a single mom incapable of taking care of herself, let alone her two kids. Walk has never left the coastal California town where he and Star grew up. He may have become the chief of police, but he’s still trying to heal the old wound of having given the testimony that sent his best friend, Vincent King, to prison decades before. And he's in overdrive protecting Duchess and her brother. Now, thirty years later, Vincent is being released. And Duchess and Walk must face the trouble that comes with his return. We Begin at the End is an extraordinary novel about two kinds of families―the ones we are born into and the ones we create.

1611. Celia Lamprey looks out across the rooftops of Aleppo for the last time. After ten years living in the Orient, she and her husband, Paul Pindar, are setting sail for England - taking with them the legendary diamond, the Sultan's Blue, despite the curse that surrounds it.They arrive to find a country much changed; Bishopsgate, once surrounded by fields, is now a muddy thoroughfare choked with carriages - from which carpenters, gardeners and footmen descend, summoned to restore Pindar's great house to its former splendour. But all is not as it seems. Celia is frail, and the marriage childless. Between the couple lies a great, unspoken darkness. Now, as they await the arrival of Celia's friend Annetta from Venice, another woman, the alluring widow Frances Sydenham, becomes increasingly indispensable to the running of the household - and the happiness of its inhabitants.But who is this strange woman, and what are her real motives?Vividly evoking Jacobean society, The House at Bishopsgate is a sumptuous, richly woven story of marital secrets and sexual jealousy, from a master of historical fiction. .

1611. Celia Lamprey looks out across the rooftops of Aleppo for the last time. After ten years living in the Orient, she and her husband, Paul Pindar, are setting sail for England - taking with them the legendary diamond, the Sultan's Blue, despite the curse that surrounds it.They arrive to find a country much changed; Bishopsgate, once surrounded by fields, is now a muddy thoroughfare choked with carriages - from which carpenters, gardeners and footmen descend, summoned to restore Pindar's great house to its former splendour. But all is not as it seems. Celia is frail, and the marriage childless. Between the couple lies a great, unspoken darkness. Now, as they await the arrival of Celia's friend Annetta from Venice, another woman, the alluring widow Frances Sydenham, becomes increasingly indispensable to the running of the household - and the happiness of its inhabitants.But who is this strange woman, and what are her real motives?Vividly evoking Jacobean society, The House at Bishopsgate is a sumptuous, richly woven story of marital secrets and sexual jealousy, from a master of historical fiction. .

A sharp and provocative new essay collection from the award-winning author of Freedom and The CorrectionsIn The End of the End of the Earth, which gathers essays and speeches written mostly in the past five years, Jonathan Franzen returns with renewed vigour to the themes – both human and literary – that have long preoccupied him. Whether exploring his complex relationship with his uncle, recounting his young adulthood in New York, or offering an illuminating look at the global seabird crisis, these pieces contain all the wit and disabused realism that we’ve come to expect from Franzen.Taken together, these essays trace the progress of a unique and mature mind wrestling with itself, with literature and with some of the most important issues of our day, made more pressing by the current political milieu. The End of the End of the Earth is remarkable, provocative and necessary.

Re-focus your business plan and achieve the success your business deserves Business owners, and their teams, often lose their way in the midst of the day-to-day stress of generating sales and profits. Whether your goal is selling millions of your product, expanding operations to a new location, or generating more profits, Start at the End offers a unique approach and action steps for business owners and entrepreneurs to redevelop your business plan and achieve ultimate success. You'll learn how to re-create your long-term vision and then make continuous progress in achieving that vision while continuing to hit your short-term goals. Start at the End offers inspiring stories of other entrepreneurs who have achieved significant success in this area, as well as easy-to-follow exercises and next steps. Shows how to develop a realistic business and financial model based on market data Explains how to identify and pursue new opportunities, raise capital, and build growth strategies Start at the End gives business owners a chance to take a step back, re-evaluate your business, and redesign your business plan to achieve the success you dreamed of when you first launched your company.

Western culture has endlessly represented the ways in which love miraculously erupts in people’s lives, the mythical moment in which one knows someone is destined for us, the feverish waiting for a phone call or an email, the thrill that runs down our spine at the mere thought of him or her. Yet, a culture that has so much to say about love is virtually silent on the no less mysterious moments when we avoid falling in love, where we fall out of love, when the one who kept us awake at night now leaves us indifferent, or when we hurry away from those who excited us a few months or even a few hours before. In The End of Love , Eva Illouz documents the multifarious ways in which relationships end. She argues that if modern love was once marked by the freedom to enter sexual and emotional bonds according to one’s will and choice, contemporary love has now become characterized by practices of non-choice, the freedom to withdraw from relationships. Illouz dubs this process by which relationships fade, evaporate, dissolve, and break down “unloving.” While sociology has classically focused on the formation of social bonds, The End of Love makes a powerful case for studying why and how social bonds collapse and dissolve. Particularly striking is the role that capitalism plays in practices of non-choice and “unloving.” The unmaking of social bonds, she argues, is connected to contemporary capitalism which is characterized by practices of non-commitment and non-choice, practices that enable the quick withdrawal from a transaction and the quick realignment of prices and the breaking of loyalties. Unloving and non-choice have in turn a profound impact on society and economics as they explain why people may be having fewer children, increasingly living alone, and having less sex. The End of Love presents a profound and original analysis of the effects of capitalism and consumer culture on personal relationships and of what the dissolution of personal relationships means for capitalism.