'FAST-PACED AND A LOT OF FUN . . . A MODERN ACTION MOVIE THAT JUST HAPPENS TO BE IN BOOK FORM' The Fantasy Inn on The Girl Who Could Move Sh*t with her Mind Full of imagination, wit and random sh*t flying though the air, this insane new Frost Files adventure will blow your tiny mind. Teagan Frost has enough sh*t to deal with, between her job as a telekinetic government operative and a certain pair of siblings who have returned from the dead to wreak havoc with their powers. But little does she know, things are about to get even more crazy . . . Teagan might have survived the flash-flood of the century, but now she's trapped in a hotel by a bunch of gun-toting maniacs. And to make matters worse, her powers have mysteriously disappeared. Faced with certain death at every turn, Teagan will need to use every resource she has to stop a plot that could destroy Los Angeles - maybe even the entire world. 'Ford's rip-roaring fourth Frost Files paranormal thriller splits up psychokinetic government operative Teagan Frost and her team, forcing all to face dangerous foes at a steep disadvantage . . . There's never a dull moment as Teagan and friends fly by the seat of their pants to save lives. The result will keep readers laughing and well entertained' Publishers Weekly Praise for the Frost Files series: 'An un-put-downable, action-packed adventure that packs an emotional punch' Kirkus 'Proceeds at breakneck speed through almost five hundred pages of madcap adventure' Guardian 'A drunken back-alley brawler of a book' Robert Brockway, author of The Unnoticeables 'Ford's breakneck pace keeps the tension high, and the thrills coming the whole way through' BookPage 'A fast-paced, high-adrenaline tale' Kirkus The Frost Files novels The Girl Who Could Move Sh*t With Her Mind Random Sh*t Flying Through the Air Eye of the Sh*t Storm A Sh*tload of Crazy Powers

Full of imagination, wit and random sh*t flying through the air, this insane new Frost Files adventure will blow your tiny mind.

Teagan Frost's life is finally back on track. Her role working for the government as a telekinetic operative is going well and she might even be on course for convincing her crush to go out with her. But, little does she know, that sh*t is about to hit the fan . . .

A young boy with the ability to cause earthquakes has come to Los Angeles - home to the San Andreas, one of the most lethal fault lines in the world. If Teagan can't stop him, the entire city - and the rest of California - could be wiped off the map.

Full of imagination, wit and random sh*t flying through the air, this high-octane adventure from an irreverent new voice in genre fiction will blow your tiny mind.

Teagan Frost is having a hard time keeping it together. Sure, she's got telekinetic powers - a skill that the government is all too happy to make use of, sending her on secret breaking missions that no ordinary human could carry out. But all she really wants to do is kick back, have a beer, and pretend she's normal for once. But then a body turns up at the site of her last job - murdered in a way that only someone like Teagan could have pulled off. She's got 24 hours to clear her name - and it's not just her life at stake.

If she can't unravel the conspiracy in time, her hometown of Los Angeles will be in the crosshairs of an underground battle that's on the brink of exploding . . .

'AN UN-PUT-DOWN-ABLE, ACTION-PACKED ADVENTURE THAT PACKS AN EMOTIONAL PUNCH' Kirkus Full of imagination, wit and random sh*t flying through the air, this insane new Frost Files adventure will blow your tiny mind. Teagan Frost might be getting better at moving sh*t with her mind - but her job working as a telekinetic government operative only ever seems to get harder. That's not even talking about her car-crash of a love life . . . And things are about to get even tougher. No sooner has Teagan chased off one psychotic kid hell-bent on trashing the whole West Coast, but now she has to contend with another supernatural being who can harness devastating electrical power. And if Teagan can't stop him, the whole of Los Angeles will be facing the sh*tstorm of the century . . . 'A non-stop adrenaline high. Fans of the series will be eagerly awaiting the further adventures of Teagan and her cohorts, and newcomers will quickly fall in love with Jackson's quirky cast of characters, imaginative storytelling, and wry wit' Library Journal Praise for the Frost Files series: 'Proceeds at breakneck speed through almost 500 pages of madcap adventure' Guardian 'Fast-paced and a lot of fun to read . . . a modern action movie that just happens to be in book form' The Fantasy Inn 'A drunken back-alley brawler of a book' Robert Brockway, author of The Unnoticeables 'Ford's breakneck pace keeps the tension high, and the thrills coming the whole way through' BookPage 'A fast-paced, high-adrenaline tale' Kirkus The Frost Files novels: The Girl Who Could Move Sh*t With Her Mind Random Sh*t Flying Through the Air Eye of the Sh*t Storm

Crime thriller set in Derby and London. Written by John Leonard Spragg.

The argument posed in this analysis is that the poetic excesses of several major female poets, excesses that have been typically regarded as flaws in their work, are strategies for escaping the inhibiting and sometimes inimical conventions too often imposed on women writers. The forms of excess vary with each poet, but by conceiving of poetic excess in relation to literary decorum, this study establishes a shared motivation for such a strategy.

Literary decorum is one instrument a culture employs to constrain its writers. Perhaps it is the most effective because it is the least definable. The excesses discussed here, like the criteria of decorum against which they are perceived, cannot be itemized as an immutable set of traits.

Though decorum and excess shift over time and in different cultures, their relationship to one another remains strikingly stable. Thus, nineteenth-century standards for women's writing and late twentieth-century standards bear almost no relation. Emily Dickinson's do not anticipate Gertrude Stein's or Sylvia Plath's or Jayne Cortez's or Ntozake Shange's.

Yet the charges of indecorousness leveled at these women poets repeat a fixed set of abstract grievances. Dickinson, Stein, Plath, Cortez, and Shange all engage in a poetics of excess as a means of rejecting the limitations and conventions of "female writing" that the larger culture imposes on them. In resisting conventions for feminine writing, these poets developed radical new poetries, yet their work was typically criticized or dismissed as excessive. Thus, Dickinson's form is classified as hysterical and her figures tortured. Stein's works are called repetitive and nonsensical. Plath's tone is accused of being at once virulent and confessional, Cortez's poems violent and vulgar, Shange's work vengeful and self-righteous. The publishing history of these poets demonstrates both the opposition to such an aesthetic and the necessity for it.

Karen Jackson Ford is a professor in the English department at the University of Oregon.