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A Total Waste of Makeup (Charlize Edwards, Book 1) by Kim Gruenenfelder

By Kim Gruenenfelder

Charlize "Charlie" Edwards definitely is familiar with, in idea, what it takes to guide a winning and chuffed existence. She owns a pleasant condominium in Silverlake, LA's trendiest local. She has glamorous and constant associates who accompany her to the most well liked golf equipment on the town. and she or he works because the own assistant to Drew Stanton, Hollywood's sexiest superstar. yet she's additionally turning 30, chronically unmarried, and confronted with serving as maid of honor at her more youthful sister's marriage ceremony. Charlie unearths herself suffering to juggle the chaos of marriage ceremony making plans (while puzzling over if she'll ever put on the white gown herself), her all-consuming task for lunatic boss Stanton, and a major weigh down on Jordan, a photographer at the set of Drew's most up-to-date feature--a guy who may perhaps truly go back her emotions. A page-turner from begin to end, a complete Waste of make-up places a clean face on women's fiction

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Additional resources for A Total Waste of Makeup (Charlize Edwards, Book 1)

Sample text

As with many regional identities, scenery, weather, dialect, humour and food probably inform many people’s sense of Yorkshire when the region is seen from a distance. Such attributes construct a regional aesthetic and reputation that oversimplifies and stereotypes, yet remains recognisable in its mix of pride, resilience and playful self-deprecation. For over 35 years (1973–2010), the BBC comedy, Last of the Summer Wine, helped to brand an English region using landscapes and lives that focused on Holmfirth and the Holme Valley (Betton, 2005: 22, 153).

However, while the accents have their origins in Ford’s ancestral home, the setting does not. Filming on an 80-acre set in what is now Malibu Creek State Park in California, with the peaks of the Goat Buttes clearly visible, Ford returns Wales to Richard Wilson’s Arcadia and the alpine sublime of the Gwynedd of the Romantics. This, again, is landscape as national redoubt. This can be evidenced in the opening frames of Huw’s flashback, which establishes the village as being above the valley floor with the land falling away on all sides to offer elevation and thus picturesque views all around.

Everyday Places and How to Find Them. In J. Schofield and R. Szymanski (eds) Local Heritage, Global Context. Cultural Perspectives on Sense of Place (London: Routledge), 13–32. Clifford, S. and King, A. (2006) England in Particular. A Celebration of the Common Place, the Local, the Vernacular and the Distinctive (London: Hodder and Stoughton). Cresswell, T. (2006) Place. A Short Introduction (Oxford: Blackwell). 34 Heather Norris Nicholson Doel, M. (2008) From Animated Photography to Film: The Formation of Vernacular Creativity in Early English Films, 1895–1908.

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