Daisy Buchanan thinks of her shop, Sometimes a Great Notion, as more than just a business. For her, it’s a haven of vintage sewing notions and other treasures, excellent coffee, and camaraderie. But when an antique dollhouse provokes some bizarre behavior on the part of a customer, Daisy makes it her business to find out what secrets are hidden behind its tiny doors… At an estate auction, Daisy is delighted to find the perfect present for a young girl she knows—a charming dollhouse in need of restoration. But when local collector Harriet Kunes tries to strong-arm Daisy into selling it, she’s in for a shocking—and deadly—surprise. After an intruder breaks in and tries to steal the dollhouse, Daisy wonders why everyone has developed such an obsession over it. As she builds her collection of clues, she suspects that the miniature Victorian holds the key to a second unsolved murder, and soon she stumbles across much more than she bid on… Includes creative tips for vintage notions!

Although it lasted barely more than a season, Dollhouse continues to intrigue viewers as one of Joss Whedon’s most provocative forays into television. The program centered on men and women who have their memories and personalities repeatedly wiped and replaced with new ones by a shadowy corporation dedicated to “fulfilling the whims of the rich.” This chilling scenario was used to tell stories about big issues—power and resistance, freedom and servitude, class and gender—while always returning to its central themes of identity and individuality. In Joss Whedon’s Dollhouse: Confounding Purpose, Confusing Identity, Sherry Ginn, Alyson R. Buckman, and Heather M. Porter bring together fourteen diverse essays that showcase the series’ complex vision of the future. Contributors probe deeply into the fictional universe of the show by considering the motives of the wealthy clients and asking what love means when personalities are continually remade. Other essays consider the show’s relations to politics, philosophy, and psychology and its representations of race and gender. Several essays explore the show’s complex relationship to transhumanism: considering the dark potential for dehumanization and abuse that lurks beneath the promise of turning bodies into temporary vessels for immortal, downloadable personalities. Though a short-lived series, Dollhouse has been hailed as one of television’s most thoughtful explorations of classic science fiction themes. As the first serious treatment of this landmark show, this collection will interest science-fiction scholars and Whedon fans alike.

All Sara Baldwin ever wanted was to be a dancer, but that dream died along with her mom and dad when she was nine years old. As the only witness, Sara was too scared to tell anyone what she saw. At LKB Events, she takes on the challenge of making others’ dreams come true while she works toward the goal set by her grandfather to claim her inheritance. But the path to happiness is paved with pitfalls, and when she’s fired from the company she helped to build, the bottom drops out of Sara’s world. She falls with it, right into the path of a monster. US Marine Garrett Dorsey doesn’t believe in fairy tales. On active duty, he saw the worst of humanity, and after returning home to run the family business, he definitely isn’t looking for love. But all that changes the night a fake Cinderella sprints out of the ballroom at the Peninsula Hotel, leaving his bruised ego and one glittering shoe in her wake… A Secret to Die For is a standalone romantic suspense novel in the Baldwin’s Shore series.

Premiering on Fox in 2009, Joss Whedon's Dollhouse was an innovative, contentious and short-lived science fiction series whose themes were challenging for viewers from the outset. A vast global corporation operates establishments (Dollhouses) that program individuals with temporary personalities and abilities. The protagonist assumes a different identity each episode--her defining characteristic a lack of individuality. Through this obtuse premise, the show interrogated free will, morality and sex, and in the process its own construction of fantasy and its audience. A decade on, the world is--for better or worse--catching up with Dollhouse's provocative vision. This collection of new essays examines the series' relevance in the context of today's social and political issues and media landscape.

This story is a fiction horror tale about a young boy who becomes cursed and kills when the bedtime prayer is heard. “Now lay me down to sleep... I pray the Lord my soul to keep... If I shall die before I wake... I pray the Lord my soul to take.” The loving Ford family falls in the center of Charlie’s horror and find themselves fighting for their lives with the help of a detective by the name of Albert. Please give your imagination a treat by enjoying this fun-filled horror tale. Now You Can Lay Me Down to Sleep...If I Shall Die!

Nine years ago, Steve Clarke was just a teenage boy in love with the girl of his dreams. Then a freak chemical spill transformed him into Reaver, the man whose super-powerful fists can literally take a year off a bad guy’s life. Days ago, he found himself at the mercy of his arch-nemesis Octagon and a whole crew of fiendish super-villains, who gave him two weeks to settle his affairs–and prepare to die. Now, after years of extraordinary adventures and crushing tragedies, the world’s greatest hero is returning to where it all began in search of the boy he once was . . . and the girl he never forgot. Exciting, scandalous, and ultimately moving, Prepare to Die! is a unique new look at the last days of a legend.

An unusual perspective on current End Times events as prophesied in the Book of Revelation, including the Rapture and the Tribulation, updated and expanded to over 600 pages.

There’s a quiet revolution happening in the way we die. More than 1.5 million Americans a year die in hospice care—nearly 44 percent of all deaths—and a vast industry has sprung up to meet the growing demand. Once viewed as a New Age indulgence, hospice is now a $14 billion business and one of the most successful segments in health care. Changing the Way We Die, by award-winning journalists Fran Smith and Sheila Himmel, is the first book to take a broad, penetrating look at the hospice landscape, through gripping stories of real patients, families, and doctors, as well as the corporate giants that increasingly own the market. Changing the Way We Die is a vital resource for anyone who wants to be prepared to face life’s most challenging and universal event. You will learn: — Hospice use is soaring, yet most people come too late to get the full benefits. — With the age tsunami, it becomes even more critical for families and patients to choose end-of-life care wisely. — Hospice at its best is much more than a way to relieve the suffering of dying. It is a way to live.

Evie Barnes is a bad girl. And everyone knows that bad girls make the best friends... A story of murder, secrets and tragedy from the author of MOXIE - as seen on Netflix. 1964. Houston, Texas. Evie Barnes is a 'bad' girl. So are all her friends. They're the sort who wear bold makeup, laugh too loud and run around with boys. Most of all, they protect their own against the world. So when Evie is saved from being assaulted by a good girl from the right side of the tracks, every rule she's always lived by is called into question. Now she must rethink everything she knew about loyalty and learn that when girls stick together it doesn't matter whether they're 'good' or 'bad'. In this riveting story of murder, secrets, and tragedy, Jennifer Mathieu reimagines S. E. Hinton's The Outsiders from a female perspective. Bad Girls Never Say Die has all the drama and heartache of that teen classic, but with a feminist take just right for our times.

Meredith does things for other people. She does her boyfriend's laundry, she attends her ex-best friend's hen party (her brother is about to marry the girl) and she moves back to her parents' house to look after her dad when his leg is broken. She's a good girl and that matters. But when she gets back home, all is not as Meredith remembered. Especially Scott, that geeky teenager from her old class at school. He's definitely different now. And so, it seems, is she. One by one, her family and old friends start to tell her some home truths and Meredith begins to realise she's not so perfect after all. Maybe it's time she stopped being everyone else's girl and started living for herself...