Search results for ""Author Christopher Moore""

New York Times bestselling author Christopher Moore channels William Shakespeare and Edgar Allan Poe in The Serpent of Venice, a satiric Venetian gothic that brings back the Pocket of Dog Snogging, the eponymous hero of Fool, along with his sidekick, Drool, and pet monkey, Jeff. Venice, a long time ago. Three prominent Venetians await their most loathsome and foul dinner guest, the erstwhile envoy of Britain and France, and widower of the murdered Queen Cordelia: the rascal Fool Pocket. This trio of cunning plotters-the merchant, Antonio; the senator, Montressor Brabantio; and the naval officer, Iago-have lured Pocket to a dark dungeon, promising an evening of spirits and debauchery with a rare Amontillado sherry and Brabantio's beautiful daughter, Portia. But their invitation is, of course, bogus. The wine is drugged. The girl isn't even in the city limits. Desperate to rid themselves once and for all of the man who has consistently foiled their grand quest for power and wealth, they have lured him to his death. (How can such a small man, be such a huge obstacle?). But this Fool is no fool ...and he's got more than a few tricks (and hand gestures) up his sleeve.

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New York Times Bestseller“Smart and funny and all sorts of raunchy in the best way.” — San Francisco ChronicleRepeat New York Times bestselling author Christopher Moore returns to the mean streets of San Francisco in this outrageous follow-up to his madcap novel Noir.San Francisco, 1947. Bartender Sammy “Two Toes” Tiffin and the rest of the Cookie’s Coffee Irregulars—a ragtag bunch of working mugs last seen in Noir—are on the hustle: they’re trying to open a driving school; shanghai an abusive Swedish stevedore; get Mable, the local madam, and her girls to a Christmas party at the State Hospital without alerting the overzealous head of the S.F.P.D. vice squad; all while Sammy’s girlfriend, Stilton (a.k.a. the Cheese), and her “Wendy the Welder” gal pals are using their wartime shipbuilding skills on a secret project that might be attracting the attention of some government Men in Black. And, oh yeah, someone is murdering the city’s drag kings and club owner Jimmy Vasco is sure she’s next on the list and wants Sammy to find the killer.Meanwhile, Eddie “Moo Shoes” Shu has been summoned by his Uncle Ho to help save his opium den from Squid Kid Tang, a vicious gangster who is determined to retrieve a priceless relic: an ancient statue of the powerful Rain Dragon that Ho stole from one of the fighting tongs forty years earlier. And if Eddie blows it, he just might call down the wrath of that powerful magical creature on all of Fog City.Strap yourselves in for a bit of the old razzmatazz, ladies and gentlemen. It’s Christopher Moore time.

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New York Times Bestseller“Smart and funny and all sorts of raunchy in the best way.” — San Francisco ChronicleRepeat New York Times bestselling author Christopher Moore returns to the mean streets of San Francisco in this outrageous follow-up to his madcap novel Noir.San Francisco, 1947. Bartender Sammy “Two Toes” Tiffin and the rest of the Cookie’s Coffee Irregulars—a ragtag bunch of working mugs last seen in Noir—are on the hustle: they’re trying to open a driving school; shanghai an abusive Swedish stevedore; get Mable, the local madam, and her girls to a Christmas party at the State Hospital without alerting the overzealous head of the S.F.P.D. vice squad; all while Sammy’s girlfriend, Stilton (a.k.a. the Cheese), and her “Wendy the Welder” gal pals are using their wartime shipbuilding skills on a secret project that might be attracting the attention of some government Men in Black. And, oh yeah, someone is murdering the city’s drag kings and club owner Jimmy Vasco is sure she’s next on the list and wants Sammy to find the killer.Meanwhile, Eddie “Moo Shoes” Shu has been summoned by his Uncle Ho to help save his opium den from Squid Kid Tang, a vicious gangster who is determined to retrieve a priceless relic: an ancient statue of the powerful Rain Dragon that Ho stole from one of the fighting tongs forty years earlier. And if Eddie blows it, he just might call down the wrath of that powerful magical creature on all of Fog City.Strap yourselves in for a bit of the old razzmatazz, ladies and gentlemen. It’s Christopher Moore time.

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INSTANT NEW YORK TIMES BESTSELLER!The absurdly outrageous, sarcastically satiric, and always entertaining New York Times bestselling author Christopher Moore returns in finest madcap form with this zany noir set on the mean streets of post-World War II San Francisco, and featuring a diverse cast of characters, including a hapless bartender; his Chinese sidekick; a doll with sharp angles and dangerous curves; a tight-lipped Air Force general; a wisecracking waif; Petey, a black mamba; and many more.San Francisco. Summer, 1947. A dame walks into a saloon . . .It’s not every afternoon that an enigmatic, comely blonde named Stilton (like the cheese) walks into the scruffy gin joint where Sammy "Two Toes" Tiffin tends bar. It’s love at first sight, but before Sammy can make his move, an Air Force general named Remy arrives with some urgent business. ’Cause when you need something done, Sammy is the guy to go to; he’s got the connections on the street.Meanwhile, a suspicious flying object has been spotted up the Pacific coast in Washington State near Mount Rainier, followed by a mysterious plane crash in a distant patch of desert in New Mexico that goes by the name Roswell. But the real weirdness is happening on the streets of the City by the Bay. When one of Sammy’s schemes goes south and the Cheese mysteriously vanishes, Sammy is forced to contend with his own dark secrets—and more than a few strange goings on—if he wants to find his girl. Think Raymond Chandler meets Damon Runyon with more than a dash of Bugs Bunny and the Looney Tunes All Stars. It’s all very, very Noir. It’s all very, very Christopher Moore.

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New York Times Bestseller!Shakespeare meets Dashiell Hammett in this wildly entertaining murder mystery from New York Times bestselling author Christopher Moore—an uproarious, hardboiled take on the Bard’s most performed play, A Midsummer Night’s Dream, featuring Pocket, the hero of Fool and The Serpent of Venice, along with his sidekick, Drool, and pet monkey, Jeff.Set adrift by his pirate crew, Pocket of Dog Snogging—last seen in The Serpent of Venice—washes up on the sun-bleached shores of Greece, where he hopes to dazzle the Duke with his comedic brilliance and become his trusted fool.But the island is in turmoil. Egeus, the Duke’s minister, is furious that his daughter Hermia is determined to marry Demetrius, instead of Lysander, the man he has chosen for her. The Duke decrees that if, by the time of the wedding, Hermia still refuses to marry Lysander, she shall be executed . . . or consigned to a nunnery. Pocket, being Pocket, cannot help but point out that this decree is complete bollocks, and that the Duke is an egregious weasel for having even suggested it. Irritated by the fool’s impudence, the Duke orders his death. With the Duke’s guards in pursuit, Pocket makes a daring escape.He soon stumbles into the wooded realm of the fairy king Oberon, who, as luck would have it, IS short a fool. His jester Robin Goodfellow—the mischievous sprite better known as Puck—was found dead. Murdered. Oberon makes Pocket an offer he can’t refuse: he will make Pocket his fool and have his death sentence lifted if Pocket finds out who killed Robin Goodfellow. But as anyone who is even vaguely aware of the Bard’s most performed play ever will know, nearly every character has a motive for wanting the mischievous sprite dead.With too many suspects and too little time, Pocket must work his own kind of magic to find the truth, save his neck, and ensure that all ends well. A rollicking tale of love, magic, madness, and murder, Shakespeare for Squirrels is a Midsummer Night’s noir—a wicked and brilliantly funny good time conjured by the singular imagination of Christopher Moore.

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At the end of the eighteenth century, when ten lawyers gathered in what is now Niagara-on-the-Lake to form the Law Society of Upper Canada, they were creating something new in the world: a professional organization with statutory authority to control its membership and govern its own affairs. Today's Law Society of Upper Canada, with more than 25,000 members, still wields these powers. Marking the bicentennial of the society's foundation, Christopher Moore's history begins by exploring the unprecedented step taken in 1797 and follows the evolution of lawyers' work and the idea of professional autonomy through two hundred years of growth and change. The Law Society of Upper Canada and Ontario's Lawyers is a broad-ranging story of the growth and development of the Law Society and the legal profession, from the days when horseback barristers travelled the backwoods by horseback, through the reforms of the late nineteenth century to the period of reaction between the two world wars and the long struggle of women and minorities for access to and equity in the legal profession. Writing in a style that is scholarly as well as entertaining, Moore traces to the present a story rich in personalities, and shows how, after a period of tremendous growth and change, questions of governance, legal aid, and practice insurance triggered a series of crises that rocked the society to its foundations. This is the first study to be based on full access to the society's two hundred years of historical records. Moore, who has organized his research into themes and periods to illuminate the story, also includes new material on the lives and careers of Ontario lawyers and on the place of the Law Society in professional and public life. Readable and extensively illustrated, The Law Society of Upper Canada and Ontario's Lawyers shows that such issues as professional autonomy and the internal organization, at the forefront of debate at the society's inception, continue to dominiate discussions today.

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The town psychiatrist has decided to switch everybody in Pine Cove, California, from their normal antidepressants to placebos, so naturally - well, to be accurate, artificially - business is booming at the local blues bar. Trouble is, those lonely slide-guitar notes have also attracted a colossal sea beast named Steve with, shall we say, a thing for explosive oil tanker trucks. Suddenly, morose Pine Cove turns libidinous and is hit by a mysterious crime wave. A beleaguered constable has to fight off his own gonzo appetites to find out what's wrong and what, if anything, to do about it.

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Charlie Asher is a pretty normal guy. A little hapless, somewhat neurotic, more of a Beta than an Alpha Male. Charlie's been lucky, though. He owns a building in the heart of San Francisco, and runs a second-hand store with the help of a couple of loyal, if marginally insane, employees. He's married to a bright and pretty woman who actually loves him for his normality. And she, Rachel, is about to have their first child. But normal service is about to be interrupted. As Charlie prepares to go home after the birth, he sees a strange man dressed in mint-green at Rachel's hospital bedside - a man who claims that no one should be able to see him. But see him Charlie does, and from here on out, things get really weird. . . .People start dropping dead around him, giant ravens perch on his building, and it seems that everywhere he goes, a dark presence whispers to him from under the streets. Strange names start appearing on his nightstand notepad, and before he knows it, those people end up dead, too. Yep, it seems that Charlie Asher has been recruited for a new job, an unpleasant but utterly necessary one: Death. It's a dirty job. But hey, somebody's gotta do it.

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This is a bawdy tale. Herein you will find gratuitous shagging, murder, spanking, maiming, treason, and heretofore unexplored heights of vulgarity and profanity,. . . If that's the sort of thing you think you might enjoy, then you have happened upon the perfect story!'So speaks Christopher Moore, one of America's funniest and bestselling authors, regarded as highly as classic satirists such as Terry Pratchett and Douglas Adams.Read Fool and discover for yourself why this book has dominated bestseller lists across the world, and why it has reduced millions of grown men and women to tears of helpless laughter...

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In Christopher Moore's lively and engaging history of the Court of Appeal for Ontario, he traces the evolution of one of Canada's most influential courts from its origins as a branch of the lieutenant governor's executive council to the post-Charter years of cutting-edge jurisprudence and national influence. Discussing the issues, personalities, and politics which have shaped Ontario's highest court, The Court of Appeal for Ontario offers appreciations of key figures in Canada's legal and political history - including John Beverly Robinson, Oliver Mowat, Bora Laskin, and Bertha Wilson - and a serious examination of what the right of appeal means and how it has been interpreted by Canadians over the last two hundred years. The first comprehensive history of the Ontario Court of Appeal, Moore's book is the definitive and eminently readable account of the court that has been called everything from a bulwark against tyranny to murderer's row.

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Twas the night (okay, more like the week) before Christmas and little Joshua Barker is in desperate need of a Christmas miracle. Josh is sure he saw Santa take a shovel to the head and now the seven year old has only one prayer: Please Santa, come back from the dead!But coming to Earth, seeking a small child whose wish needs granting, is none other than Archangel Raziel. Unfortunately, he's not sporting the brightest halo in the bunch and before you can say 'Kris Kringle,' he's botched his sacred mission and sent the residents of Pine Cove headlong into Christmas chaos, culminating in the most hilarious and horrifying holiday party the town has ever seen.

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Just why do humpback whales sing? That's the question that has marine biologist Nate Quinn and his crew poking, charting, recording and photographing very big, wet, gray marine mammals. That is, until the extraordinary day when a whale lifts its tail into the air to display a cryptic message spelled out in foot-high letters: BITE ME.Trouble is, Nate's beginning to wonder if he hasn't spent just a little too much time in the sun. 'Cause no one else saw a thing- not his longtime partner, Clay Demodocus; not their saucy young research assistant; not even the spliff-puffing white-boy Rastaman Kona (ne Preston Applebaum). But later, when a roll of film returns from the lab missing the crucial tail shot- and his research facility is trashed- Nate realizes something very fishy indeed is going on.

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Jody never asked to become a vampire. But when she wakes up under an alley Dumpster with a badly burned arm, an aching neck, superhuman strength, and a distinctly Nosferatuan thirst, she realises the decision has been made for her. Making the transition from the nine-to-five grind to an eternity of nocturnal prowlings is going to take some doing, however, and that''s where C. Thomas Flood fits in. A would-be Kerouac from Incontinence, Indiana, Tommy (to his friends) is biding his time night-clerking and frozen turkey bowling in a San Francisco Safeway. But all that changes when a beautiful, undead redhead walks through the door ... and proceeds to rock Tommy''s life - and afterlife - in ways he never imagined possible.

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The birth of Jesus has been well chronicled, as have his glorious teachings, acts, and divine sacrifice after his thirtieth birthday. But no one knows about the early life of the Son of God, the missing years - except Biff, the Messiah's best bud, who has been resurrected to tell the story in this divinely hilarious, yet heartfelt work 'reminiscent of Vonnegut and Douglas Adams' (Philadelphia Inquirer). Verily, the story Biff has to tell is a miraculous one, filled with remarkable journeys, magic, healings, kung fu, corpse reanimations, demons, and hot babes, Even the considerable wiles and devotion of the Saviour's pal may not be enough to divert Joshua from his tragic destiny. But there's no one who loves Josh more - except maybe 'Maggie,' Mary of Magdala - and Biff isn't about to let his extraordinary pal suffer and ascend without a fight.

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In San Francisco, the souls of the dead are mysteriously disappearing-and you know that can't be good-in New York Times bestselling author Christopher Moore's delightfully funny sequel to A Dirty Job. Something really strange is happening in the City by the Bay. People are dying, but their souls are not being collected. Someone-or something-is stealing them and no one knows where they are going, or why, but it has something to do with that big orange bridge. Death Merchant Charlie Asher is just as flummoxed as everyone else. He's trapped in the body of a fourteen-inch-tall "meat puppet" waiting for his Buddhist nun girlfriend, Audrey, to find him a suitable new body to play host. To get to the bottom of this abomination, a motley crew of heroes will band together: the seven-foot-tall death merchant Minty Fresh; retired policeman turned bookseller Alphonse Rivera; the Emperor of San Francisco and his dogs, Bummer and Lazarus; and Lily, the former Goth girl. Now if only they can get little Sophie to stop babbling about the coming battle for the very soul of humankind ...

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In Christopher Moore's ingenious debut novel, we meet one of the most memorably mismatched pairs in the annals of literature. The good-looking one is one-hundred-year-old ex-seminarian and 'roads' scholar Travis O'Hearn. The green one is Catch, a demon with a nasty habit of eating most of the people he meets. Behind the fake Tudor façade of Pine Cove, California, Catch sees a four-star buffet. Travis, on the other hand, thinks he sees a way of ridding himself of his toothy travelling companion. The winos, neo-pagans, and deadbeat Lotharios of Pine Cove, meanwhile, have other ideas. And none of them is quite prepared when all hell breaks loose.

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Sôphrosunê (“self-discipline”) is the often-forgotten sibling of justice, wisdom, courage, and piety in discussions of canonical Greek virtues. Christopher Moore shows that during the classical period it was the object of significant debate--about its scope, its feel, its practical manifestations, and its value. By interpreting sôphrosunê as a commitment to norm-following, we see that these pointed discussions of the virtue, previously ignored as parodic moralizing or expressions of political propaganda, are in fact concerned with the ideal of human agency. These discussions query the way we become fully responsible for our actions. Greek thinking about sôphrosunê becomes thinking about self-constitution, our crucial capacity to act on the general reasons that we come to identify with as our own. This perspective explains sôphrosunê's inclusion in Plato's canon of virtues, and before that its frequent appearance in funerary inscriptions, elegiac poetry, tragic drama, and historiography. It also explains the analytic attention given to it by Heraclitus, the Sophists, the historians, Socrates, Xenophon, and Plato. Moore deals principally with the classical period, though the book includes one chapter addressing earlier poetry and another addressing the virtue in two gender-sensitive post-classical works. An appendix deals with the epigraphic material. For the Greeks (and perhaps for us) there is a virtue of agency, an acquirable capacity to be guided by what's best. Hardly just a concern for reticence and reserve, commitment to sôphrosunê is a commitment to whatever it is that makes us truly ourselves.

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An original and provocative book that illuminates the origins of philosophy in ancient Greece by revealing the surprising early meanings of the word "philosopher"Calling Philosophers Names provides a groundbreaking account of the origins of the term philosophos or "philosopher" in ancient Greece. Tracing the evolution of the word's meaning over its first two centuries, Christopher Moore shows how it first referred to aspiring political sages and advice-givers, then to avid conversationalists about virtue, and finally to investigators who focused on the scope and conditions of those conversations. Questioning the familiar view that philosophers from the beginning "loved wisdom" or merely "cultivated their intellect," Moore shows that they were instead mocked as laughably unrealistic for thinking that their incessant talking and study would earn them social status or political and moral authority.Taking a new approach to the history of early Greek philosophy, Calling Philosophers Names seeks to understand who were called philosophoi or "philosophers" and why, and how the use of and reflections on the word contributed to the rise of a discipline. Drawing on a wide range of evidence, the book demonstrates that a word that began in part as a wry reference to a far-flung political bloc came, hardly a century later, to mean a life of determined self-improvement based on research, reflection, and deliberation. Early philosophy dedicated itself to justifying its own dubious-seeming enterprise. And this original impulse to seek legitimacy holds novel implications for understanding the history of the discipline and its influence.

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An original and provocative book that illuminates the origins of philosophy in ancient Greece by revealing the surprising early meanings of the word "philosopher"Calling Philosophers Names provides a groundbreaking account of the origins of the term philosophos or "philosopher" in ancient Greece. Tracing the evolution of the word's meaning over its first two centuries, Christopher Moore shows how it first referred to aspiring political sages and advice-givers, then to avid conversationalists about virtue, and finally to investigators who focused on the scope and conditions of those conversations. Questioning the familiar view that philosophers from the beginning "loved wisdom" or merely "cultivated their intellect," Moore shows that they were instead mocked as laughably unrealistic for thinking that their incessant talking and study would earn them social status or political and moral authority.Taking a new approach to the history of early Greek philosophy, Calling Philosophers Names seeks to understand who were called philosophoi or "philosophers" and why, and how the use of and reflections on the word contributed to the rise of a discipline. Drawing on a wide range of evidence, the book demonstrates that a word that began in part as a wry reference to a far-flung political bloc came, hardly a century later, to mean a life of determined self-improvement based on research, reflection, and deliberation. Early philosophy dedicated itself to justifying its own dubious-seeming enterprise. And this original impulse to seek legitimacy holds novel implications for understanding the history of the discipline and its influence.

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"Christopher Moore is a very sick man, in the very best sense of that word." -Carl Hiassen "[Moore's novels] deftly blend surreal, occult, and even science-fiction doings with laugh-out-loud satire of contemporary culture." -Washington Post "If there's a funnier writer out there, step forward." -Playboy Absolutely nothing is sacred to Christopher Moore. The phenomenally popular, New York Times bestselling satirist whom the Atlanta Journal-Constitution calls, "Stephen King with a whoopee cushion and a double-espresso imagination" has already lampooned Shakespeare, San Francisco vampires, marine biologists, Death...even Jesus Christ and Santa Claus! Now, in his latest masterpiece, Sacre Bleu, the immortal Moore takes on the Great French Masters. A magnificent "Comedy d'Art" from the author of Lamb, Fool, and Bite Me, Moore's Sacre Bleu is part mystery, part history (sort of), part love story, and wholly hilarious as it follows a young baker-painter as he joins the dapper Henri Toulouse-Lautrec on a quest to unravel the mystery behind the supposed "suicide" of Vincent van Gogh.

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"Moore and Raymond's Charmides is very impressive. The translation is excellent, and the Introduction and notes guide the reader into thorny problems in a way that renders them understandable: e.g., how to translate sôphrosunê, why we should care about self-knowledge, or how to seek to clarify important ethico-political concepts. The result provides almost all of what an instructor will need to introduce this unjustly neglected dialogue into a syllabus. Moreover, the volume is a wide-ranging resource for specialists. Students of the 'Socratic Dialogues' will profit greatly from this admirable contribution." —David J. Murphy is co-editor of Antiphontis et Andocidis Orationes (Oxford) and author of "The Basis of the Text of Plato's Charmides" (Mnemosyne) and many other contributions on the Charmides. He lives in New York City.

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This collection uncovers how music criticism contributed to national and transnational preoccupations and agendas. Music Criticism in France examines the aesthetic battles that animated and informed French musical criticism during the interwar period (1918-1939). Drawing upon a rich corpus of critical writings and archival documents, the book uncovers some of the public debates surrounding classical music in the immediate aftermath of the Great War until the eve of World War II. As such, it provides new insights into the priorities, values and challenges that affected the musical milieu of this war-bound generation. This collection of essays brings together scholars from different areas of musicology and related humanities disciplines; it also draws on different anglophone and francophone intellectual traditions. As well as considering the reception of individual works, the contributors examine key individuals, composer-critic pairings, the composer as critic and technician, the role of influential journals, and music criticism as a pedagogical tool for concert-going and radio audiences. Focusing on the themes of authority, advocacy and legacy, it shows the contribution of principal critics such as Vuillermoz, Vallas, Prunières, Schloezer and Koechlin to shaping our understanding of music in the first half of the twentieth century in France. We see how criticism contributes to national and transnational preoccupations and agendas, which were of considerable importance throughout the interwar period and continue to have relevance today. BARBARA L. KELLY is Director of Research and Professor of Musicology at the Royal Northern College of Music, Manchester. CHRISTOPHER MOORE is Associate Professor of Musicology at the University of Ottawa. Contributors: PHILIPPE CATHÉ, MICHEL DUCHESNEAU, KIMBERLY FRANCIS, JACINTHE HARBEC, BARBARA L. KELLY, PASCAL LÉCROART, CHRISTOPHER MOORE, RACHEL MOORE, JANN PASLER, CAROLINE RAE, DANICK TROTTIER, MARIANNE WHEELDON

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