Gerald Everett Jones's Blog: Gerald Everett Jones - Author, page 56
March 3, 2012
Guest Post: On genre in fiction and why it's not very important
So what's a nice literary fiction gal like me doing blogging at a dangerous place like Boychik Lit? Am I at the wrong party? No, I don't think so. The way I look at it, good writing is good writing and when it's happening, a genre label is probably little more than something publishers use for marketing purposes and readers use to make sure that the book they're about to read isn't going to bore, bother, upset, or irritate them. When a novel is superbly written, and the characters are distincitive and 'true', then the reader won't get bored, bothered, upset or irritated no matter whether you call the book chik (or boychik) lit, fantasy, romance, sci-fi, or literary fiction. Here are two reasons why I don't believe genre really matters:
Few novels stick perfectly well to genre conventions, especially when they're employing the elements of good fiction writing, such as the character arc, a powerful setting (whether that setting is Stavromula Beta or, as in my new novel Black Cow, a remote farmhouse in Tasmania), an exciting dramatic plot, a rich theme, and a unique concept. In fact, the only time that genre conventions are crystal clear and 100% conformed to are when stereotypes are in play and the overall result is cliché laden. I've never written a story or novel that didn't have elements of romance, horror, historical fiction, and even sci fi. It's all part of the complex spectrum of human experience. Yes the overall tenets of genre may apply and give the story it's distinctive feel, category, set of parameters, and these can add important flavour, but if the story is good, I'll enjoy reading it no matter what the genre, and especially if there is no obvious discernable genre but rather a blend of elements that make up different genres.
Even the notion of genre is a moveable feast. Have you heard of "medical-romance"? "Airport fiction?", "beach reads", "steampunk", "squid-lit"? They're all relatively new genres coined by marketers to try and attract a particular audience, based on broad but sometimes (when everything is working well) nebulous criteria. How about the distinction between "Young Adult (YA)" and "Adult" fiction? One of my favourite novels The Life of Pi is sold as YA in the US and adult fiction in Australia. The same goes for The Book Thief. Sometimes parents use the genre "YA" as a means for ensuring themselves that the book will be suitable for their teenagers. But some of the best, most sophisticated (and disturbing) adult novels I've read have been tagged as YA.
The best novelists don't get too caught up in genre unless they're writing to a very clear specific spec - and that may well hold true for Harlequin staff writers, but most of us just get on with the writing. Maybe when it's all done, some canny soul in the marketing department (or the author under duress) will decide that it fits into one or more genre categories. Maybe the cover will hint at a certain type of escapism which will appeal to a certain type of reader. If these things open new markets to the work, then everyone wins.
Magdalena Ball
is the author of the newly released genre free novel Black Cow
(actually some people have called it "Recession-lit", "contemporary fiction", and "literary fiction". If any of those appeal to you - go with them!). Grab a a free mini flip book here:
http://www.bewritebooks.com/mb/BlackCow/BlackCow.html
Check out Gerald's review of Black Cow right here at the blog. Or dive straight over to Amazon now for some instant gratification. Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
November 21, 2011
Rollo Makes Cents - 99 to Be Exact
A recent white paper circulated by Vook publishing advanced the idea that 99 cents is the ideal price point for ebooks. And "free," they say, is best for short-term promotions.
A lot of author-publishers tried this approach, but apparently Amazon is not thrilled with the zero-dollars option.
However, 99 cents is just fine with everybody, so now Rollo Hemphill's two misadventures, My Inflatable Friend and the sequel Rubber Babes, are at the magic price point in the Kindle library:
Read Rollo on Kindle for .99
But wait - as they say in those tantalizing TV pitches - there's more! The Kindle versions are also available now on SmashWords, where free is free. So My Inflatable Friend has been knocked down to zero bucks, for now and for how long, go figure:
My Inflatable Friend - Kindle and all other versions - free on SmashWords
Rubber Babes - in all formats - at the magic 99 cent price, all on SmashWords
So if you're gifting ebook readers for the holidays, finally treating yourself to one, or have one and just plain bored and craving a laugh, catch up on where Rollo has been and where he's going.
Because... his third misadventure Farnsworth's Revenge: Rollo's End is coming out in a big way sometime soon, and you'll want to know why on Earth you'd bother to pre-order that one, much less fork over its cover price.
Audio preview of Farnsworth's RevengeGerald Everett Jones
La Puerta Productions
www.lapuerta.tv
A lot of author-publishers tried this approach, but apparently Amazon is not thrilled with the zero-dollars option.
However, 99 cents is just fine with everybody, so now Rollo Hemphill's two misadventures, My Inflatable Friend and the sequel Rubber Babes, are at the magic price point in the Kindle library:
Read Rollo on Kindle for .99
But wait - as they say in those tantalizing TV pitches - there's more! The Kindle versions are also available now on SmashWords, where free is free. So My Inflatable Friend has been knocked down to zero bucks, for now and for how long, go figure:
My Inflatable Friend - Kindle and all other versions - free on SmashWords
Rubber Babes - in all formats - at the magic 99 cent price, all on SmashWords
So if you're gifting ebook readers for the holidays, finally treating yourself to one, or have one and just plain bored and craving a laugh, catch up on where Rollo has been and where he's going.
Because... his third misadventure Farnsworth's Revenge: Rollo's End is coming out in a big way sometime soon, and you'll want to know why on Earth you'd bother to pre-order that one, much less fork over its cover price.
Audio preview of Farnsworth's RevengeGerald Everett Jones
La Puerta Productions
www.lapuerta.tv
November 3, 2011
Book Review: "From Russia with Love" by Ian Fleming
From Russia with Love
was the fifth of Ian Fleming's 007 books, published in 1957. Apparently he wasn't sure whether he wanted the franchise to continue, and you have to read the sequel, Dr. No, to find out how some of the plot points in this one were resolved.
Interesting, I think, is that the movie Dr. No (based on the sixth book) was the first James Bond film, and From Russia with Love was the second. Swapping the order of the plots actually necessitated some changes to the stories. In the movie, Dr. No is part of an international crime syndicate, SPECTRE. However, the Russian coding machine (based on the German's WWII Enigma device) was called Spektor in the novel and apparently renamed Lektor in the movie. SPECTRE is nowhere mentioned in either of the novels. In the novel From Russia with Love, it is the Russian assassination bureau SMERSH that hatches the plot to kill Bond using the Spektor and a beautiful woman as bait. In the movie, the planner Kronsteen instead works for SPECTRE, which intends to steal the Lektor along with luring Bond, then kill him and return the machine in return for a big SMERSH ransom payment.
Bond is a somewhat anachronistic character now, a gentleman bad boy back when most heroes played nice. Now they're all bad boys, and worse. And he was an unabashed male chauvinist. I'll leave it for the reader to marvel at rather than explain too much, but Tatiana Romanova is a rake's pipe-dream of a character, like all of the Fleming babes. She lives to serve the fantasy image she's created of Bond in her mind, and she commits the spy's cardinal sin of starting to believe her own cover story.
This book starts very slowly, with much more expository heavy lifting than you'd expect from a spy thriller. The action only accelerates about two-thirds of the way through. Fleming's literary predecessors included Somerset Maugham and Graham Greene, and his slow storytelling pace seems like a throwback.
Also odd, it seemed to me, were his opinions of Istanbul. Fleming hates the Turkish food and finds the city dirty and under-lit at night. Contrast this image with today's Istanbul, which has a population of fifteen million and growing (larger than Los Angeles) and world-class amenities.
[Cross-posted on Goodreads.com]
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
Interesting, I think, is that the movie Dr. No (based on the sixth book) was the first James Bond film, and From Russia with Love was the second. Swapping the order of the plots actually necessitated some changes to the stories. In the movie, Dr. No is part of an international crime syndicate, SPECTRE. However, the Russian coding machine (based on the German's WWII Enigma device) was called Spektor in the novel and apparently renamed Lektor in the movie. SPECTRE is nowhere mentioned in either of the novels. In the novel From Russia with Love, it is the Russian assassination bureau SMERSH that hatches the plot to kill Bond using the Spektor and a beautiful woman as bait. In the movie, the planner Kronsteen instead works for SPECTRE, which intends to steal the Lektor along with luring Bond, then kill him and return the machine in return for a big SMERSH ransom payment.
Bond is a somewhat anachronistic character now, a gentleman bad boy back when most heroes played nice. Now they're all bad boys, and worse. And he was an unabashed male chauvinist. I'll leave it for the reader to marvel at rather than explain too much, but Tatiana Romanova is a rake's pipe-dream of a character, like all of the Fleming babes. She lives to serve the fantasy image she's created of Bond in her mind, and she commits the spy's cardinal sin of starting to believe her own cover story.
This book starts very slowly, with much more expository heavy lifting than you'd expect from a spy thriller. The action only accelerates about two-thirds of the way through. Fleming's literary predecessors included Somerset Maugham and Graham Greene, and his slow storytelling pace seems like a throwback.
Also odd, it seemed to me, were his opinions of Istanbul. Fleming hates the Turkish food and finds the city dirty and under-lit at night. Contrast this image with today's Istanbul, which has a population of fifteen million and growing (larger than Los Angeles) and world-class amenities.
[Cross-posted on Goodreads.com]
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
October 23, 2011
Book Review: "The Sense of an Ending" by Julian Barnes
[Cross-posted on Goodreads.com]
QUADRUPLE SPOILER ALERT!
In terms of overt clues and Adrian's equation, Adrian had an affair (perhaps not so brief, near the end of his life) with Veronica's mother Sarah, who bore the child Terry, who was later sent (after Sarah's death?) to a caregiver facility.
I think what nags at Tony at the end is that there are other possibilities that could fit the evidence better. Unless Veronica spills it, or Adrian's diary is not burnt after all, Tony can never know for sure. In all scenarios he's guilty, in some achingly more than others.
The child could have been Veronica's by Adrian or by Tony. The memory of the trip to the river seems to imply a night of unprotected, romantic sex. Sarah might have cared for the baby when Veronica couldn't, or wouldn't. Veronica's pregnancy would have been when she and Adrian were newlyweds. He might have died thinking the baby was his. Or sure that it wasn't.
Tony says Terry looks like Adrian. Did Tony look like Adrian? Is Tony looking into a mirror and denying the familiarity he sees?
The child could have been Sarah's by Tony. This strange possibility best explains: 1) Sarah's bequest, 2) Veronica's rage, and 3) Sarah's enigmatic parting gesture to Tony, implying a secret they shared (that she'd seduced him during the visit). The fact that Adrian has repressed the memory of the sex act (but not the washing up after) would seem totally implausible, except in the context of this book which is all about how our minds rewrite history to suit our opinion of ourselves.
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
QUADRUPLE SPOILER ALERT!
In terms of overt clues and Adrian's equation, Adrian had an affair (perhaps not so brief, near the end of his life) with Veronica's mother Sarah, who bore the child Terry, who was later sent (after Sarah's death?) to a caregiver facility.
I think what nags at Tony at the end is that there are other possibilities that could fit the evidence better. Unless Veronica spills it, or Adrian's diary is not burnt after all, Tony can never know for sure. In all scenarios he's guilty, in some achingly more than others.
The child could have been Veronica's by Adrian or by Tony. The memory of the trip to the river seems to imply a night of unprotected, romantic sex. Sarah might have cared for the baby when Veronica couldn't, or wouldn't. Veronica's pregnancy would have been when she and Adrian were newlyweds. He might have died thinking the baby was his. Or sure that it wasn't.
Tony says Terry looks like Adrian. Did Tony look like Adrian? Is Tony looking into a mirror and denying the familiarity he sees?
The child could have been Sarah's by Tony. This strange possibility best explains: 1) Sarah's bequest, 2) Veronica's rage, and 3) Sarah's enigmatic parting gesture to Tony, implying a secret they shared (that she'd seduced him during the visit). The fact that Adrian has repressed the memory of the sex act (but not the washing up after) would seem totally implausible, except in the context of this book which is all about how our minds rewrite history to suit our opinion of ourselves.
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
Book Review: "The Marriage Plot" by Jeffrey Eugenides
[Cross-posted on Goodreads.com]
The Marriage Plot is masterful on many levels. At first I wasn't drawn to any of the three characters in the love triangle - Madeleine, Leonard, and Mitchell. Each seemed deeply flawed, and they are. Except you read along and find that Eugenides thinks we all are, just as deeply in our unique ways, and are none the lesser for it. That's the way people are, and the way life goes. We stumble through it, thinking we are somehow in control, and it's what happens nevertheless while we are furiously busy making other plans, or simply fretting about making up our minds.
This is a literary novel, in the best sense, and I was surprised to read some critics cramming it into the diminutive genre "campus novel." That would be like classifying Pride and Prejudice as a rom com, which is not as irrelevant as it sounds. The marriage plot, you see, is the genre form of which that work is representative. Eugenides wants to know whether the marriage plot is dead as a meaningful literary form, now that marriage seems hardly worthy as the ultimate goal of youthful aspirations.
Then there's the theme of semiotics. I studied with Roland Barthes (yes, I'm that old) and back then I don't think the term semiotics even existed. At least, I don't recall his ever having used it. But he talked incessantly about structuralism, that a novel is a long sentence spoken by its author, a literary construct waiting to be parsed. Understand, I didn't get any of this from him back then, just from what others, including Susan Sontag, have written about him since. His lesson plan was built around Balzac's short story "Sarrasine," which is the engrossing tale of a man obsessed by an opera star who turns out to be both a castralto and the "kept woman" of a powerful priest. But why Barthes chose that story for his criticism totally escaped me at the time, and I can only surmise now what his intentions were.
But back to Eugenides. The characters meet in a semiotics class at Brown, and the author gives a lot of detail about the subject and its impact on their personal thoughts. Semiotics claims, for example, that humans would not experience love as we have come to understand it unless we had read about it (or seen movies about it) first. There's a similar concept in Stendhal's The Red and the Black, in which the narrator comments that peasants in the French countryside cope with life less well than the sophisticated citizens of Paris, who have all read novels that give them models for how to act in society.
Ultimately, this is a novel about perception, what we make of reality as it is happening to us, and our inability to make meaning of events in time to control their outcome. Things happen or they don't. Things work out or they don't. They mostly don't, and we move on.
Perhaps significantly, the character in this book who understands himself best is the one whose grasp on reality is most tenuous, because he has to work at staying sane. In his acknowledgements, Eugenides credits several experts and sources for genetic research (another theme), but he thanks no one for his extensive detailing of bipolar disorder and its treatment. So naturally I wonder how he came by this information, and at what personal cost
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
The Marriage Plot is masterful on many levels. At first I wasn't drawn to any of the three characters in the love triangle - Madeleine, Leonard, and Mitchell. Each seemed deeply flawed, and they are. Except you read along and find that Eugenides thinks we all are, just as deeply in our unique ways, and are none the lesser for it. That's the way people are, and the way life goes. We stumble through it, thinking we are somehow in control, and it's what happens nevertheless while we are furiously busy making other plans, or simply fretting about making up our minds.
This is a literary novel, in the best sense, and I was surprised to read some critics cramming it into the diminutive genre "campus novel." That would be like classifying Pride and Prejudice as a rom com, which is not as irrelevant as it sounds. The marriage plot, you see, is the genre form of which that work is representative. Eugenides wants to know whether the marriage plot is dead as a meaningful literary form, now that marriage seems hardly worthy as the ultimate goal of youthful aspirations.
Then there's the theme of semiotics. I studied with Roland Barthes (yes, I'm that old) and back then I don't think the term semiotics even existed. At least, I don't recall his ever having used it. But he talked incessantly about structuralism, that a novel is a long sentence spoken by its author, a literary construct waiting to be parsed. Understand, I didn't get any of this from him back then, just from what others, including Susan Sontag, have written about him since. His lesson plan was built around Balzac's short story "Sarrasine," which is the engrossing tale of a man obsessed by an opera star who turns out to be both a castralto and the "kept woman" of a powerful priest. But why Barthes chose that story for his criticism totally escaped me at the time, and I can only surmise now what his intentions were.
But back to Eugenides. The characters meet in a semiotics class at Brown, and the author gives a lot of detail about the subject and its impact on their personal thoughts. Semiotics claims, for example, that humans would not experience love as we have come to understand it unless we had read about it (or seen movies about it) first. There's a similar concept in Stendhal's The Red and the Black, in which the narrator comments that peasants in the French countryside cope with life less well than the sophisticated citizens of Paris, who have all read novels that give them models for how to act in society.
Ultimately, this is a novel about perception, what we make of reality as it is happening to us, and our inability to make meaning of events in time to control their outcome. Things happen or they don't. Things work out or they don't. They mostly don't, and we move on.
Perhaps significantly, the character in this book who understands himself best is the one whose grasp on reality is most tenuous, because he has to work at staying sane. In his acknowledgements, Eugenides credits several experts and sources for genetic research (another theme), but he thanks no one for his extensive detailing of bipolar disorder and its treatment. So naturally I wonder how he came by this information, and at what personal cost
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
October 15, 2011
Book Review: "Black Cow" by Magdalena Ball
Friend and colleague Magdalena Ball sent me an (electronic) advance reading copy of her new novel
Black Cow.
Maggie is a contributor to the Boychik Lit blog (helping provide sensible sexual balance), and she is the founder and editor of the Compulsive Reader book review site. I previously reviewed her debut novel
Sleep Before Evening,
a painful coming-of-age story about a nice, bright girl (Marianne) from the Long Island suburbs who gets lost in the New York subculture of drugs and rock 'n roll. In Black Cow, the female protagonist (Freya) is all grown up, pushing middle age, settled down with her mildly dysfunctional family in Double Bay, one of the trendier suburbs of Sydney, Australia. Freya is married to the charismatic but now underperforming James. They are both busy striving to be capitalist overachievers after having long ago abandoned their youthful hippie ideals. Freya is a harried residential real estate agent. James is CEO of a nameless firm that seems to be engaged in nothing in particular. As a result of the global Great Recession malaise, Freya's house hunters aren't buying and James's shareholders are blaming him for, well, everything. Their teenage children Cameron and Dylan, once sweet and precocious, have turned cynical and introverted. No one is getting any satisfaction.
Freya's family reminds me of Katie's in Nick Hornby's How to be Good, and it's almost the stereotype of middle class home life these days, the nuclear family of reality TV and sitcoms alike. It's somewhat depressing to realize that life is so much the same from Bloomsbury to Darien to Santa Monica to Double Bay. Ho hum. What to do?
Freya and James decide, after a long sequence of mishaps and arguments, to sell out, move the family to rural Tasmania, and take up organic farming and cattle ranching.
In so many novels, perhaps because of the authors' strong desires that blockbuster movies get made from them, some horrific, extraordinary event suddenly disrupts the mundane flow, triggering a hell-bent plot. An example would be Ian McEwan's Saturday, in which the daily middle-class routine of London neurosurgeon Henry Perowne is upset when a terrorist breaks into his home.
Although Black Cow is full of the aforesaid mishaps and arguments, it lacks that exceptional, catastrophic inciting incident that would transform it into a horror story or a family adventure movie. Assuredly, shit happens. But you may find Freya's dilemmas no worse or more dramatic than you experienced in your own dysfunctional family last week. This lack, in my opinion, is to the book's great credit. Black Cow is to be commended for its realism and its honesty. It's not a thrill ride, not an entertainment to divert us momentarily from the challenges of daily living, but a meditation on how life should be lived, on what we value and what we don't.
Having at least two meanings, the title suggests a theme. The first is a confection made from root beer and ice cream. It's the treat Freya used to offer Cameron and Dylan when they were younger, the one sure-fire way of bringing a smile, a trick that no longer works. The term also refers to the Tasmanian Wagyu, a breed of black cattle prized for its marbled beef.
Those two meanings book-end the story.
So, does chucking it all and moving to the country resolve the family's unhappy issues? Remember, I praised Maggie for her unflinching realism.
All this said, they could well make a movie out of Black Cow, and I'd buy a ticket.
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
Freya's family reminds me of Katie's in Nick Hornby's How to be Good, and it's almost the stereotype of middle class home life these days, the nuclear family of reality TV and sitcoms alike. It's somewhat depressing to realize that life is so much the same from Bloomsbury to Darien to Santa Monica to Double Bay. Ho hum. What to do?
Freya and James decide, after a long sequence of mishaps and arguments, to sell out, move the family to rural Tasmania, and take up organic farming and cattle ranching.
In so many novels, perhaps because of the authors' strong desires that blockbuster movies get made from them, some horrific, extraordinary event suddenly disrupts the mundane flow, triggering a hell-bent plot. An example would be Ian McEwan's Saturday, in which the daily middle-class routine of London neurosurgeon Henry Perowne is upset when a terrorist breaks into his home.
Although Black Cow is full of the aforesaid mishaps and arguments, it lacks that exceptional, catastrophic inciting incident that would transform it into a horror story or a family adventure movie. Assuredly, shit happens. But you may find Freya's dilemmas no worse or more dramatic than you experienced in your own dysfunctional family last week. This lack, in my opinion, is to the book's great credit. Black Cow is to be commended for its realism and its honesty. It's not a thrill ride, not an entertainment to divert us momentarily from the challenges of daily living, but a meditation on how life should be lived, on what we value and what we don't.
Having at least two meanings, the title suggests a theme. The first is a confection made from root beer and ice cream. It's the treat Freya used to offer Cameron and Dylan when they were younger, the one sure-fire way of bringing a smile, a trick that no longer works. The term also refers to the Tasmanian Wagyu, a breed of black cattle prized for its marbled beef.
Those two meanings book-end the story.
So, does chucking it all and moving to the country resolve the family's unhappy issues? Remember, I praised Maggie for her unflinching realism.
All this said, they could well make a movie out of Black Cow, and I'd buy a ticket.
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
August 28, 2011
Chemistry
There's a lot to be said about chemistry.
But you can't tell teenagers anything. Or can you?
The short story "Chemistry" is licensed for redistribution to anyone, with attribution to Gerald Everett Jones and without modification.
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
July 25, 2011
Guest Post: The Jig Is Er ... Down! by David Drum
One of the boychik's longstanding colleagues posted this book review of the Rollo Hemphill misadventures on Associated Content:
The Jig Is Er ... Down!
(ebook versions still free on Smashwords.com until July 31)Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
The Jig Is Er ... Down!
(ebook versions still free on Smashwords.com until July 31)Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
July 11, 2011
Free E-Book Promo on Smashwords During July
Yes, you can believe it. Pigs do fly (for a limited time).eBook formats on SmashWords.com:
My Inflatable Friend - EPUB, iPad, and Sony Reader downloadRubber Babes EPUB, iPad, and Sony ebook versionsGerald Everett Jones
La Puerta Productions
www.lapuerta.tv
June 17, 2011
MP3 Clip of Vroman's Reading: Farnsworth's Revenge
Listen now
This reading is from the third of the Rollo Hemphill misadventures,
Farnsworth's Revenge: Rollo's End
. In the first two books*, Rollo has masterminded a plot with a life-sized rubber doll made in the image of a famous soap star, Monica LaMonica. Rollo's former boss, old crusty Hugo Farnsworth, has developed a passionate fascination for the doll. He is currently entertaining "her" as his sole guest aboard his private yacht Shameless Palms, currently anchored at St. Tropez. Meanwhile, Rollo has also fled to France to avoid being arrested for a money-laundering scam he didn't do. As the book opens, Farnsworth secretly summons Rollo and pleads for his help because the doll has mysteriously disappeared from the boat.
Listen now
* Rollo books in softcover:
BUY Rubber Babes - Amazon PageBUY My Inflatable Friend - Amazon PageeBook formats:
My Inflatable Friend - EPUB, iPad, and Sony Reader downloadRubber Babes EPUB, iPad, and Sony ebook versions
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
This reading is from the third of the Rollo Hemphill misadventures,
Farnsworth's Revenge: Rollo's End
. In the first two books*, Rollo has masterminded a plot with a life-sized rubber doll made in the image of a famous soap star, Monica LaMonica. Rollo's former boss, old crusty Hugo Farnsworth, has developed a passionate fascination for the doll. He is currently entertaining "her" as his sole guest aboard his private yacht Shameless Palms, currently anchored at St. Tropez. Meanwhile, Rollo has also fled to France to avoid being arrested for a money-laundering scam he didn't do. As the book opens, Farnsworth secretly summons Rollo and pleads for his help because the doll has mysteriously disappeared from the boat.Listen now
* Rollo books in softcover:
BUY Rubber Babes - Amazon PageBUY My Inflatable Friend - Amazon PageeBook formats:
My Inflatable Friend - EPUB, iPad, and Sony Reader downloadRubber Babes EPUB, iPad, and Sony ebook versions
Gerald Everett Jones
La Puerta Productions
www.lapuerta.tv
Gerald Everett Jones - Author
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