Playing The Part A Class Of Their Own Book 3

"One of the funniest voices in the inspirational genre."--Booklist Lucetta Plum is an actress on the rise in New York City, but is forced to abandon her starring role when a fan's interest turns threatening. Lucetta's widowed friend, Abigail Hart, is delighted at the opportunity to meddle in Lucetta's life and promptly whisks her away to her grandson's estate to hide out. Bram Haverstein may appear to simply be a somewhat eccentric gentleman of means, but a mysterious career and a secret fascination with a certain actress mean there's much more to him than society knows. Lucetta, who has no interest in Abigail's matchmaking machinations, has the best intentions of remaining cordial but coolly distant to Bram. But when she can't ignore the strange and mysterious things going on in his house, it'll take more than good intentions to keep her from trying to discover who Bram is behind the part he plays.

Miss Harriet Peabody dreams of the day she can open up a shop selling refashioned gowns to independent working women like herself. Unfortunately, when an errand for her millinery shop job goes sadly awry due to a difficult customer, she finds herself out of an income. Mr. Oliver Addleshaw is on the verge of his biggest business deal yet when he learns his potential partner prefers to deal with men who are settled down and wed. When Oliver witnesses his ex not-quite-fiance cause the hapless Harriet to lose her job, he tries to make it up to her by enlisting her help in making a good impression on his business partner. Harriet quickly finds her love of fashion can't make her fashionable. She'll never truly fit into Oliver's world, but just as she's ready to call off the fake relationship, fancy dinners, and elegant balls, a threat from her past forces both Oliver and Harriet to discover that love can come in the most surprising packages.

If he had been with me everything would have been different... I wasn't with Finn on that August night. But I should've been. It was raining, of course. And he and Sylvie were arguing as he drove down the slick road. No one ever says what they were arguing about. Other people think it's not important. They do not know there is another story. The story that lurks between the facts. What they do not know—the cause of the argument—is crucial. So let me tell you...

Next Generation is a two-level course for Bachillerato, combining complete preparation for the Pruebas de Accesso a la Universidad (PAU) exams with material that helps learners improve their English language skills for life. Teacher's Resource Book 1 combines comprehensive teaching notes for the eight units of the Student's Book with photocopiable worksheets providing extra practice of vocabulary, grammar, writing and phrasal verbs, as well as tests, mock PAU exams and answer keys to the Workbook and all photocopiable activities. It also comes with the Class Audio CDs.

-- Students' Book -- Workbook.

The cultural meanings of poker and how it mirrors fundamental aspects of capitalism

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times