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Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 0.7

When Sylvester, the Duke of Salford, first meets Phoebe Marlow, he finds her dull and insipid. She thinks he is insufferably arrogant.

Gardeners can be disappointed by the insipid flavor of the vegetables and fruit that they have so carefully nurtured. The problem, according to botanist James Wong, is that many conventional gardening practices are based on pure myth or faulty science. They create bumper crops at the expense of flavor and nutrition. It doesn't have to be that way. After trial and error of cutting-edge horticultural techniques and extensive review of more than 2,000 journal papers from around the globe, Wong turns the tables on old-school advice with a radical new system that transforms the flavor and nutrition of homegrown produce. Grow for Flavor shows the simple steps and innovative methods that yield tasty harvests beyond dreams and, best of all, the methods involve less effort, are strictly organic and can be mastered easily by newbie gardeners. The goal is maximum flavor with minimum labor. Consider these examples: For tomatoes 150 percent sweeter with 50 percent more vitamin C, ditch the tomato food and use molasses, aspirin sprays, and a bit of salt water. For strawberries 20 percent bigger with 100 times the aroma, plant in acidic soil in full sun with a skirt of red plastic mulch. For super-healthy berries with 300 percent more antioxidants than grocery store varieties, plant Rubel blueberries. For maximum flavor and sweetness, harvest beets early and carrots late. Grow for Flavor is more than tips from a gardening expert. It overflows with practical information and inspirational advice -- an essential for all gardeners.

This Victorian bestseller, along with Braddon's other famous novel, Aurora Floyd, established her as the main rival of the master of the sensational novel, Wilkie Collins. A protest against the passive, insipid 19th-century heroine, Lady Audley was described by one critic of the time as "high-strung, full of passion, purpose, and movement." Her crime (the secret of the title) is shown to threaten the apparently respectable middle-class world of Victorian England.About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

Vinyl LP pressing housed in a gatefold sleeve, includes digital download. Since the late '80s, Mudhoney the Seattle-based foursome whose muck-crusted version of rock, shot through with caustic wit and battened down by a ferocious low end has been a high-pH tonic against the ludicrous and the insipid. Digital Garbage opens with the swaggering Nerve Attack, which can be heard as a nod both to modern-life anxiety and the ever-increasing threat of warfare. The album's title comes from the outr

Decimating the godhead to it's insipid form, Triumvir Foul spews forth it's third legion of the triumvirate under the Vrasubatlat banner -the Urine Of Abomination. The band returns after a short lull following the Spiritual Bloodshed album with a four-song exhibition showcasing their more caustic elements to date. Again slightly departing in theme, this release takes a direct approach in discussing the obliteration of the godhead and humiliating him in piss. Sonically, it carries on the sound o

Geoffrey Hill’s Speech! Speech! (2000) encapsulates two thousand years’ worth of utterances in a symbolic act of remembrance and expression of despair for the current age, in which we find “our minds and ears fouled by degraded public speech—by media hype, insipid sermons, hollow political rhetoric, and the ritual misuse of words.” Through 120 densely allusive stanzas—“As many as the days that were of SODOM”—the poem wrestles this condition from within, fighting fire with fire in an alchemical symbolic labour that transmutes the dross of corrupt and clichéd idiom into a dynamic logopoeia that proves true Hill’s persistent claim: “genuinely difficult art is truly democratic.” Such is the weird, ambivalently hostile position of poetry in the present world and thus the space of our real connection to it: “Whatever strange relationship we have with the poem, it is not one of enjoyment. It is more like being brushed past, or aside, by an alien being” (Hill).Befriending this estrangement, embracing it as a more amicable brushing-up-against, Hassan’s Annotations provide a thorough and patient explication of Speech! Speech! that both clarifies and deepens the poem’s difficulties, illuminating its polyphonic language and careening discursive movement. The author’s method is at once commentarial, descriptive, and narratorial, staying faithfully with the poem and following its complex verbal and logical turns. The book generously provides, rather than direct interpretative incursion, a more durable and productive document of “the true nature / of this achievement” (stanza 92), a capacious, open understanding of the text that will prove invaluable to its present and future readers.punctumbooks.com

The place of poetry in modern democracy is no place, according to conventional wisdom. The poet, we hear, is a casualty of mass entertainment and prosaic public culture, banished to the artistic sidelines to compose variations on insipid themes for a dwindling audience. Robert Pinsky, however, argues that this gloomy diagnosis is as wrongheaded as it is familiar. Pinsky, whose remarkable career as a poet itself undermines the view, writes that to portray poetry and democracy as enemies is to radically misconstrue both. The voice of poetry, he shows, resonates with profound themes at the very heart of democratic culture. There is no one in America better to write on this topic. One of the country's most accomplished poets, Robert Pinsky served an unprecedented two terms as America's Poet Laureate (1997-2000) and led the immensely popular multimedia Favorite Poem Project, which invited Americans to submit and read aloud their favorite poems. Pinsky draws on his experiences and on characteristically sharp and elegant observations of individual poems to argue that expecting poetry to compete with show business is to mistake its greatest democratic strength--its intimate, human scale--as a weakness. As an expression of individual voice, a poem implicitly allies itself with ideas about individual dignity that are democracy's bedrock, far more than is mass participation. Yet poems also summon up communal life.. Even the most inward-looking work imagines a reader. And in their rhythms and cadences poems carry in their very bones the illusion and dynamic of call and response. Poetry, Pinsky writes, cannot help but mediate between the inner consciousness of the individual reader and the outer world of other people. As part of the entertainment industry, he concludes, poetry will always be small and overlooked. As an art--and one that is inescapably democratic--it is massive and fundamental.

Sadik Ellis blew into my rather insipid world at breakneck speed and with gripping force. He held all the features: striking feline eyes, golden russet skin, incredible sex appeal, wealth exuding like the enticing scent of cologne, and mind-blowing determination.He was also trouble from the other side of the tracks, something I’d sensed. Sadik was an Ellis man with a solid education, his own thriving businesses, and self-obtained wealth. However, the Ellis family was known for their long underbelly ruling of the state of New Jersey. When Sadik assured his life was separate of his father’s, I believed him each time.I fell completely and dangerously head over heels for him. And, my God, all the red flags were there. Yet I ignored them all, throwing caution to the winds of naivety just to add a little spice to my mundane world. A world that will never be the same because I allowed it to be infiltrated by an Ellis. Publisher’s Note: “He Who Is a Friend” is book ONE of a THREE book series. It ends on a suspenseful CLIFFHANGER. This book contains angst, violence, profanity, sexual explicit content, and gory material. If any of these elements is not what you prefer between the pages of a novel, this is not the venture for you.

It's campy, it's cool, empty, intrusive, trite, and treacly. It's Big Brother singing. Call it what you will -- elevator music, Moodsong ® easy listening, or Muzak ®. For a musical genre that was supposed to offend no one, it has a lot of enemies. Musical cognoscenti decry its insipid content; regular folk -- if they notice -- bemoan its pervasiveness; while hipsters and campsters celebrate its retro chic. Mindful of the many voices, Joseph Lanza's Elevator Music sings seriously, with tongue in cheek, the praises of this venerable American institution. Lanza addresses the criticisms of elites who say that Muzak and its ilk are dehumanized, vapid, or cheesy. These reactions, he argues, are based more on cultural prejudices than honest musical appraisal. Says Lanza, today's so-called mood music is the inheritor of a long tradition of mood-altering music stretching back to the ancients; Nero's fiddle and the sirens of Odysseus being two famous examples. Contemporary atmospheric music, Lanza argues, not only serves the same purpose, it is also the inevitable background for our media-dominated age. One of Lanza's premises, to quote Mark Twain, is that this music is "better than it sounds." "This book will have succeeded in its purpose," he writes, "if I can help efface...the distinction between one person's elevator music and another's prized recording." Joseph Lanza is an author, producer, and music historian. His most recent book is Russ Columbo and the Crooner Mystique.

For those sick of corporate scandals and underhanded business practices, laughter may be the best medicine. A hilarious parody of the classic bestseller Who Moved My Cheese, Who Stole My Cheese?!! offers a little lift in an otherwise challenging situation. Inside is an insipid tale that reveals profound truths about greed. It's a cloying yet inspiring story of four small characters -- two rats and two "loyal employees" -- who are trapped in a "maze" and looking for their share of the "cheese" to sustain them and bring them happiness.

This Victorian bestseller, along with Braddon's other famous novel, Aurora Floyd, established her as the main rival of the master of the sensational novel, Wilkie Collins. A protest against the passive, insipid 19th-century heroine, Lady Audley was described by one critic of the time as "high-strung, full of passion, purpose, and movement." Her crime (the secret of the title) is shown to threaten the apparently respectable middle-class world of Victorian England.

It's campy, it's cool, empty, intrusive, trite, and treacly. It's Big Brother singing. Call it what you will -- elevator music, Moodsong ® easy listening, or Muzak ®. For a musical genre that was supposed to offend no one, it has a lot of enemies. Musical cognoscenti decry its insipid content; regular folk -- if they notice -- bemoan its pervasiveness; while hipsters and campsters celebrate its retro chic. Mindful of the many voices, Joseph Lanza's Elevator Music sings seriously, with tongue in cheek, the praises of this venerable American institution. Lanza addresses the criticisms of elites who say that Muzak and its ilk are dehumanized, vapid, or cheesy. These reactions, he argues, are based more on cultural prejudices than honest musical appraisal. Says Lanza, today's so-called mood music is the inheritor of a long tradition of mood-altering music stretching back to the ancients; Nero's fiddle and the sirens of Odysseus being two famous examples. Contemporary atmospheric music, Lanza argues, not only serves the same purpose, it is also the inevitable background for our media-dominated age. One of Lanza's premises, to quote Mark Twain, is that this music is "better than it sounds." "This book will have succeeded in its purpose," he writes, "if I can help efface...the distinction between one person's elevator music and another's prized recording." Joseph Lanza is an author, producer, and music historian. His most recent book is Russ Columbo and the Crooner Mystique.

For those sick of corporate scandals and underhanded business practices, laughter may be the best medicine. A hilarious parody of the classic bestseller Who Moved My Cheese, Who Stole My Cheese?!! offers a little lift in an otherwise challenging situation. Inside is an insipid tale that reveals profound truths about greed. It's a cloying yet inspiring story of four small characters -- two rats and two "loyal employees" -- who are trapped in a "maze" and looking for their share of the "cheese" to sustain them and bring them happiness.

A little boy who betrays his father to the mercies of Santa Claus. An assassin whose personality is so insipid he erases people with his very presence. This is the history of mankind as told through 21 tales of the comic and the macabre. This is the paperback edition.