High-schooler Masahiko Murai has exactly one thing going for him: a keen sense of smell. Not exactly the sort of defining trait that helps someone become one of the popular kids, especially given the malodorous scents he finds particularly appealing. But that's okay. He's set the bar pretty low in terms of his expectations. He doesn't have to be cool or popular -- or even liked. Just as long as he isn't the biggest loser, he can get by. As luck would have it, there's always been one rung lower on his class's social ladder, but when the "biggest loser" gets a girlfriend, a panicked Masahiko pulls a name out of his past -- Haruka Mizusawa -- playing the long-distance relationship card in a desperate attempt to keep his worst nightmare from becoming reality. Naturally everyone's skeptical, but when Haruka shows up at school the next day and backs up Masahiko's story, their skepticism is quickly laid to rest. You'd think that Masahiko was off the hook... But what he failed to share with his classmates was that Haruka actually died years earlier...so who's turned up wearing her face, and why is she playing along with him at all...? Masahiko's about to learn that there are far more horrifying fates than being the biggest loser in school...
“Night Trix Oxide’s Standing On The Edge” is a collaboration of prose, and rambles as seen through the eyes of the persona Night Trix Oxide. Night Trix Oxide’s words are introspective and searching for answers to questions. She may sometimes come across as severe, but she scatters lighter thoughts throughout her work with her hopes and dreams. Night Trix Oxide stands on the edge of life and faces reality with little armor but her emotion, with just her words to defend her. Read along and discover the strength that keeps her going, keeps her standing at the edge, Night Trix Oxide!
Terror stalks the streets of Bayou Breaux, Louisiana. A suspected murderer is free on a technicality, and the cop accused of planting evidence against him is ordered off the case. But Detective Nick Fourcade refuses to walk away. He’s stepped over the line before. This case threatens to push him over the edge. He’s not the only one. Deputy Annie Broussard found the woman’s mutilated body. She still hears the phantom echoes of dying screams. She wants justice. But pursuing the investigation will mean forming an alliance with a man she doesn’t trust and making enemies of the men she works with. It will mean being drawn into the confidence of a killer. For Annie Broussard, finding justice will mean risking everything—including her life. The search for the truth has begun—one that will lead down a twisted trail through the steamy bayous of Louisiana, and deep into the darkest reaches of the human heart.
The rise and fall of a guru in Hawaii. He is Ed McGuy, a part-Scottish, part-Hindu alcoholic who spent time in an ashram. He is launched by two martial artists and a door-to-door salesman, but he is a short-lived fad. By the author of Whirlaway.
Release on 2003 | by Kate Hoffmann,Jacqueline Diamond,Jill Shalvis
Author: Kate Hoffmann,Jacqueline Diamond,Jill Shalvis
Pubpsher: Harlequin Books
A trio of romantic comedies set in Paris make up this anthology that features stories by three top Harlequin authors. As finalists for a magazine's Mother of the Year contest, three women do not realize that being finalists isn't the most excitement they'll ever have--falling in love is. Original.
The 924 Gilman Street Project, a.k.a. the Alternative Music Foundation, is an all-ages, non-profit, collectively organized music and performance venue (club). This book documents its history. Compiled by Brian Edge, the book features essays, articles, and writings from Tim Yohannan, Murray Bowles, George S., Mike S., Branwyn B., Charles L., Athena K, and many others, along with photos, show flyers, newspaper articles, etc. Includes a complete show list from December 1986 to December 2003.
A stranger takes over a role in a play, leaving the rest of the cast to ponder his motives. Two minutes into the second act, there is a knock on Nicolas Boehlmer’s dressing-room door, just as he’s smoking his last cigarette before having to go back on stage . . . and, without thinking, he says,“Come in,” still in character. He quickly finds himself bound, gagged, and stripped by a man who appears to be his mirror image: costumed in the same wig, make-up, and clothes. Nicolas is powerless to prevent his usurper from going out and playing his role—with increasingly ridiculous consequences. Is this “upstaging” the act of a depraved amateur? Sabotage by a rival? A piece of guerrilla theater? A political statement? Whatever the cause, Nicolas and his fellow actors soon find their play—and their lives—making less and less sense, as the parts they play come under assault by this irrational intruder.