Name: The Other Side of the Story
Price: 8.99
Rating: 4.4 (50 reviews)

- $8.99

Jojo Harvey is a dead ringer for Jessica Rabbit and the most ferocious literary agent in town. A former NYPD cop, she now lives in London making million-dollar book deals while trying to make partner at her firm . . . all the while sleeping with the boss man.

Lily Wright is an author who believes in karma, and is waiting for the sky to fall after stealing her former best friend's man. Though her first book failed to sell, her life turns upside down when her most recent book becomes a huge bestseller.

Gemma Hogan is an event designer extraordinaire, but her personal life is nonexistent after losing the love of her life and her best friend in one fell swoop. To make matters worse, her father has just left her mother. While taking care of her mother, she e-mails a close colleague about her frustrations, who in turn forwards the hilarious e-mails to a famous literary agent named Jojo Harvey, who just happens to represent her former friend, now enemy, Lily Wright. . . .

Written in the charming and chatty voice that has become Marian Keyes's signature style, this hilarious and heartwarming novel proves there are three sides to every story . . . especially in the world of publishing!

PUBLISHERS WEEKLY SEP 21, 2009

Intelligence historian Melton and retired CIA officer Wallace (coauthors of Spycraft) reunite for this unremarkable reproduction of a long-lost cold war era relic. In 1953, the fledgling CIA hired professional magician John Mulholland to adapt his "techniques of stealth and misdirection" to the craft of espionage. Mulholland produced two illustrated manuals featuring a range of tricks from placing pills into drinks to stealing documents and avoiding detection. The classified manuals were believed to have been destroyed in 1973, but the authors discovered a copy in 2007 among recently declassified CIA archives. The manuals are reproduced along with enhanced illustrations and an extended introduction by Melton and Wallace. Despite the authors' best efforts to promote their discovery of Mulholland's work as a "rare piece of historical evidence" of the CIA's legacy of black arts, the manuals, with their earnest, how-to descriptions of surreptitiously spiking drinks, palming documents and signaling colleagues with a "feather in a hat band" seem more quaintly anachronistic than revealing or sinister.

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