'Robert James Muldoon. That's me, fifteen years auld, four feet three wi bright red hair an legs like a chicken...' It's 1968. Bobby, as he is better known, lives in a Gorbals' tower block in Glasgow. He desperately wants to be 'grown up' but his journey to maturity is fraught with obstacles. He is crippled by a lack of self-confidence, tormented at school, controlled by his OCD mother and ignored by the lassies. Gradually Bobby realises he has the ability to make something of himself if he can only overcome his lack of self-esteem. So he begins his journey to adulthood and, with the help and support of his father and the slightly mysterious Archie, the only true friend he has, he meets each crisis head on with a sharp, witty sense of humour and a huge amount of determination.

'Robert James Muldoon. That's me. Sixteen years auld, four feet three wi bright red hair an legs like a chicken...'It's 1969 and Bobby, as he is usually known, has spent the last year dealing with one crisis after another. He's a Gorbals' boy though so with sheer determination and a witty sense of humour he's moving on. Thanks to some carefully considered action plans and the support of Jeannie, the love of his life, Bobby has so far overcome every obstacle in his path. Now he and Jeannie have a plan to create a good life for themselves. Will Bobby finally become a confident, successful young man? Or will he go one step further and find...Fame and Fortune in The Gorbals?

The Bobby Muldoon Trilogy is the story of young Bobby 'Chicken Legs' Muldoon. Set in The Gorbals, Glasgow in the late sixties it follows Bobby as he meets one life crisis after another. However, Bobby is a Gorbals boy through and through and, despite his lack of confidence, he overcomes every obstacle in his path with determination and a sharp, witty sense of humour. The trilogy has been described as a heartwarming and hysterical journey for the reader.Kate Donne lives in Dollar, Clackmannanshire with her Welsh husband, Steve. She graduated from the Royal Conservatoire of Scotland with a BA Degree in Dramatic Studies and has spent many years working in the arts. She now runs her own personal development consultancy.

The #1 New York Times bestselling (mostly true) memoir from the hilarious author of Furiously Happy. “Gaspingly funny and wonderfully inappropriate.”—O, The Oprah Magazine When Jenny Lawson was little, all she ever wanted was to fit in. That dream was cut short by her fantastically unbalanced father and a morbidly eccentric childhood. It did, however, open up an opportunity for Lawson to find the humor in the strange shame-spiral that is her life, and we are all the better for it. In the irreverent Let’s Pretend This Never Happened, Lawson’s long-suffering husband and sweet daughter help her uncover the surprising discovery that the most terribly human moments—the ones we want to pretend never happened—are the very same moments that make us the people we are today. For every intellectual misfit who thought they were the only ones to think the things that Lawson dares to say out loud, this is a poignant and hysterical look at the dark, disturbing, yet wonderful moments of our lives. Readers Guide Inside

Uncertainty surrounds the use of publicity as a means of controlling corporate crime. On the one hand, some agree with Justice Brandeis's dictum that light is "the best of disinfectants...the most efficient policeman." On the other hand, many believe that corporations' internal affairs are effectively shrouded with a thick fog that prevents the light of public scrutiny from reaching them. The Impact of Publicity on Corporate Offenders is the first study to go beyond the rhetoric, through an examination of corporate experience. Fisse and Braithwaite have carried out a qualitative inquiry concerning 17 large corporations involved in publicity crises. Based mainly on interviews, the inquiry includes company employees and former employees, union officials, officers of government regulatory agencies, competitors, independent accountants, government prosecutors, public interest activists, judicial officers, stockbrokers, and other experts.

The former US poet laureate delivers a book “filled with raw sexual disclosures, rowdy anger and a self-blasting mockery” (The New York Times). Donald Hall’s fourteenth collection opens with an epigraph from the Urdu poet Faiz: “The true subject of poetry is the loss of the beloved.” In that poetic tradition, as in The Painted Bed, the beloved might be a person or something else—life itself, or the disappearing countryside. Hall’s new poems further the themes of love, death, and mourning so powerfully introduced in his Without (1998), but from the distance of passed time. A long poem, “Daylilies on the Hill 1975-1989,” moves back to the happy repossession of the poet’s old family house and its history—a structure that “persisted against assaults” as its generations of residents could not. These poems are by turns furious and resigned, spirited and despairing—”mania is melancholy reversed,” as Hall writes in another long poem, “Kill the Day.” In this book’s fourth and final section, “Ardor,” the poet moves toward acceptance of new life in old age; eros reemerges. “More controlled, more varied and more powerful, this taut follow-up volume [to Without] reexamines Hall’s grief while exploring the life he has made since. The book’s first poem, ‘Kill the Day,’ stands among the best Hall has ever written.” —Publishers Weekly “A compelling, sometimes shocking, and certainly deeply moving depiction of bereavement.” —Poetry “Hall has continued growing as a poet, and his steady readers may consider this his finest collection . . . Bleakness and beauty characterize the reminiscent lyrics that follow, too, joined by a breathtaking bluntness.” —Booklist