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The hilarious sequel to the instant New York Times bestseller, set in the world of law-breaking leprechauns, from actor and writer Thomas Lennon—now in paperback Ronan Boyle may not be the strongest, or the smartest, or the best looking, or the most dexterous member of the secret Garda . . . So why was he picked to save the captain from the harpy who dragged her into Tir Na Nog? He’s not entirely sure. But he may be the captain’s only hope—if he can outrun cannibalistic elves, escape a job in a unicorn’s lounge act, and find the captain before she’s sacrificed to a cult. Eventually Ronan must battle the scariest monster of all: imposter syndrome. Fast-paced, action-packed, and utterly hilarious, the second book in the New York Times bestselling series delivers laughs and much, much more.

The third book in the hilarious New York Times bestselling middle-grade series set in the world of law-breaking leprechauns from actor and writer Thomas Lennon Ronan Boyle may be the youngest detective of the secret Garda, but now that he’s saved the captain from a spooky cult, he’s also the only detective that has the head of an old Irish god in his vastsack! But his adventures are far from over. His parents are still on the run (he told them the prison break was a bad idea!), and he still has to turn over the corrupt wee folk to the leprechaun king and return to the Human Republic of Ireland to turn over the god’s head. Simple, right? VERY WRONG! Between having to get swallowed by a whale to take a short cut, avoiding a jar of hot pickle farts, and figuring out how he can prove his parents’ innocence, Ronan’s really got his hands full. Will our small, nervous hero be able to somehow save the day once again? Fast-paced, action-packed, and sidesplittingly funny, the third book in the New York Times bestselling series delivers strange creatures, heart-pounding thrills, and plenty of laughs.

'The Battle of the Gods and Giants Redux' is a collection of 14 original essays in early modern philosophy by leading scholars in the field presented in honour of Thomas M. Lennon.

This is the only screenwriting guide by two guys who have actually done it (instead of some schmuck who just gives lectures about screenwriting at the airport Marriott); “These guys are proof that with no training and little education, ANYONE can make it as a screenwriter” (Paul Rudd). Robert Ben Garant and Thomas Lennon’s movies have made over a billion dollars at the box office—and now they show you how to do it yourself! This book is full of secret insider information about how to conquer the Hollywood studio system: how to write, pitch, structure, and get drunk with the best of them. Well…maybe not the best of them, but certainly the most successful. (If you’re aiming to win an Oscar, this is not the book for you!) But if you can type a little, and can read and speak English—then you too can start turning your words into stacks of money! This is the only screenwriting book you will ever need (because all other ones pretty much suck). In these pages, Garant and Lennon provide the kind of priceless tips you won’t find anywhere else, including: -The art of pitching -Getting your foot in the door -Taking notes from movie stars -How to get fired and rehired -How to get credit and royalties! And most important: what to buy with the huge piles of money you’re going to make! Writing Movies for Fun and Profit will take you through the highs and lows of life as a professional screenwriter. From the highs of hugging Gisele Bündchen and getting kung fu punched by Jackie Chan to the soul-crushing lows of Herbie: Fully Loaded. Read this book and you’ll have everything you need to make your first billion the old-fashioned way—by “selling out” in show business! A portion of the authors’ proceeds from this book are being contributed to the USO of Metropolitan Washington, a private, nonprofit organization dedicated to serving active duty military members and their families in the greater Washington, DC, region.

A critical but sympathetic treatment of Pierre Bayle. Once known as the 'Arsenal of the Enlightenment, ' his concepts were widely adopted by later thinkers, but since his time there has been nothing but disagreement about how Bayle is to be interpreted

By the mid-1600s, the commonsense, manifest picture of the world associated with Aristotle had been undermined by skeptical arguments on the one hand and by the rise of the New Science on the other. What would be the scientific image to succeed the Aristotelian model? Thomas Lennon argues here that the contest between the supporters of Descartes and the supporters of Gassendi to decide this issue was the most important philosophical debate of the latter half of the seventeenth century. Descartes and Gassendi inspired their followers with radically opposed perspectives on space, the objects in it, and how these objects are known. Lennon maintains that differing concepts on these matters implied significant moral and political differences: the Descartes/Gassendi conflict was typical of Plato's perennial battle of the gods (friends of forms) and giants (materialists), and the crux of that enduring philosophical struggle is the exercise of moral and political authority. Lennon demonstrates, in addition, that John Locke should be read as having taken up Gassendi's cause against Descartes. In Lennon's reinterpretation of the history of philosophy between the death dates of Gassendi and Malebranche, Locke's acknowledged opposition to Descartes on some issues is applied to the most important questions of Locke exegesis. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This historical study of Pierre-Daniel Hueta (TM)s "Censura philosophiae cartesiana" (1689) and the controversy surrounding it, shows that there are good answers to the perennial standard criticisms of Descartesa (TM)s philosophy: the method of doubt, the cogito, proofs of Goda (TM)s existence, etc.

Lennon and McCartney: Painting with Sound explores the work of two of the most influential composers of the twentieth century. Five decades after the breakup of the Beatles, the music of John Lennon and Paul McCartney continues to fascinate and inspire. Evidence suggests that their uniquely eclectic approach can be traced back to the Liverpool College of Art. Following on that idea, this book explores the creative dialogue between John Lennon and Paul McCartney, both with the Beatles and on their own, that grew out of that early influence. The book is presented in three sections: I. Stretching the Canvas considers the Liverpool College of Art as the backdrop for John and Paul’s early collaborations with painter and musician Stuart Sutcliffe. This is followed by discussions of select works created by the Beatles between 1962-69. II. Extending the Space focuses on the long-distance creative dialogue between Lennon and McCartney as demonstrated in their respective solo recordings of the 1970s. III. New Colours considers the final works of the Lennon and McCartney creative dialogue as well as various McCartney solo projects released in the years that followed Lennon’s death in 1980. Here, the focus is on Paul’s development as a painter, its effect on his creativity, and his subsequent efforts to establish the Liverpool Institute for Performing Arts as a world-class arts conservatory.

A stunning new book showing how the Beatles' song lyrics contain secret conversations between John Lennon and Paul McCartney. Varying between strong affection and outright hostility, these hidden messages clearly mirror the fluctuations the two Beatles were experiencing in their personal relationship at the time. The Beatles themselves have made only fleeting references to this troubled phase. Paul McCartney acknowledges what he calls the "song wars" period, confirming that, at the time, "I was really writing a lot of songs to John." John Lennon meanwhile played down the negative tone of his messages saying "I'm entitled to call Paul what I want and vice versa. It's in our family"