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Nothing Left to Lose is a 2017 horror novel by Dan Wells published by Tor Books. [1] It is the sixth and final installment of the John Wayne Cleaver series, following Over Your Dead Body (2016). The novel concludes the story of sociopathic teenage protagonist John Cleaver and his hunt of an ancient network of demons who call themselves "the ...
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Nothing More to Tell is a Junior Library Guild book, [3] and a New York Times Best Seller. [4] It was well received by critics, including starred reviews from Kirkus Reviews, [4] Publishers Weekly, [1] School Library Journal, [5] and Shelf Awareness.
When there is nothing left for him to do in London, he goes to New York for ten months. Returning to London, he takes on a part in a TV soap opera and the book leaves its reader on the brink of the 1979 general election (the defeat of Jim Callaghan's government on a motion of no confidence is specifically mentioned later in the novel).
You Should Have Left (Original title: Du hättest gehen sollen) is a 2016 novella by German writer Daniel Kehlmann. [1] [2] Originally written in German, it was later translated by Ross Benjamin into English. [3] The novella is the diary of a screenwriter attempting to write a sequel, Besties 2, to follow his earlier success, Besties. He is on ...
Love, Etc was written some ten years after Talking It Over and is set ten years later. In the intervening period Stuart, the protagonist, has emigrated to America, remarried, opened a restaurant, got divorced and returned to England, where he has set up a successful organic food business.
“To say that a piece of writing is a prose poem versus a story is just a matter of an author’s intention, an author’s definition.” [18] In 2018, he co-edited a collection of the best stories published in 100 Word Story, Nothing Short of 100: Selected Tales from 100 Word Story with Lynn Mundell and Beret Olsen.
None of the thirteen "Texts for Nothing" were given titles; they present a variety of voices thrust into the unknown. According to S. E. Gontarski: "What one is left with after the Texts for Nothing is 'nothing,' incorporeal consciousness perhaps, into which Beckett plunged afresh in English in the early 1950s to produce a tale rich in imagery but short on external coherence."