"Art thou stamin-ambitious enough to take on this head-spinning, ob-skeweringly verbose, indeco-rustically Shakespearean play? Or is it that your love for chaos in word-er is trumped by your clever-sion to matters of dire-onical importance, such as philo-soliloquizing on the nature of braggart-istic expression? Nothing is More by Dolly Gray Landon (a pseudonym and anagram of the author’s real name, Gary Lloyd Noland) is the script for a six-hour play, a satirical black comedy written in doggerel verse. This pun-filled linguistic labyrinth pokes fun at the elitism of the art world and academia while still gracefully tackling large and complex themes in philosophy and aesthetics.
The story is set in a fictional Pimpleton State Luniversity in New Jersey, where six opinionated people with vastly differing perspectives on what constitutes “art” butt heads and form alliances over philosophical arguments. Five of these characters are students in the Luniversity-specific postdoctoral “stool” program, striving for the lucrative “Modigger Prize.” Their areas of research are hyper-specialised and absurdly obscure, including topics such as Pimaeval Linguistics, Feline Transgender Studies, and Astromusicology. The star of the show is a bombastic artist named Phangbang Bonation, a “submicrominimalist,” whose artistic movement of “Nadaism” has revolutionised the art world. Nadaism consists of doing and producing nothing, “nada,” and is touted as not only a legitimate but a prodigiously revolutionary form of self-expression. Two other “stool” candidates, Purvel and Pelvin—disgusted by this fraud being committed on the artistic and academic world—form an elaborate scheme to expose Bonation as the scammer they believe him to be and to make sure that Nadaism becomes simply an unfortunate blip in the trajectory of art history. To complete this six-act story, add a corrupt Beverly Lovebucks (President of the Luniversity and career politician), two distinctly impressionable women whose affections Bonation has captured, a chorus, a musical score, and miscellaneous cats. Do Pelvin and Purvel succeed in their efforts to save art? What dark secrets lie in the Pandora’s box of the art world? What happens when their own theories are put to the test?
In the beginning of the play, I was unsure of what “level of irony” the script was on. I shall explain this further. Some of the wordplay seemed corny and forced (for example: badministrators, unsnobjectively, dustbinstitutionalized, run-of-the-nil, fartistic, greater than the scum of its parts). The characters also seemed wildly caricatured, with Phangbang Bonation in particular exhibiting obscene and unsophisticated behaviour that was so over the top that it was more confusing to read than funny. There was also a lot of overtly derogatory sexual content. For these reasons, I was not sure whether the author intended that the satire be unsubtle, whether this lack of subtlety was part of the satire, or whether this tension between subtlety and lack thereof was another intended element of the satire. The story started off seeming as though the author was just relentlessly and remorsefully vilifying academia and the art world, dragging it down and dismissing it as silly without offering any possibility of redemption. However, as the plot twisted on and loose strings tied up, the author created a beautifully nuanced unfolding of events. Different aspects of previously unidimensional characters were exposed to create more balanced and less unequivocal philosophical explorations. Some profound questions were provoked apropos the meanings of beauty, originality, destruction, and creation. The narrative had a merciless logical incisiveness to it, but less readily visible was the gentle ethical questioning behind it that tied the whole piece together. During the course of reading the script, the rating I wanted to give the book was constantly fluctuating in my mind, finally settling on a solid 4 out of 4 stars after initially wanting to rate it 2 stars.
The author has an incredible grasp of language and wielded it masterfully, filling the script with deft puns and word mashups. Even the descriptions (parts of the piece that don’t have to actually be performed) have clever wordplay. The juxtaposition of Shakespearean language and blatant, sleazy vulgarity set the stage for clever and entertaining contrasts. The author was very thorough in laying out a comprehensive and well-structured plan for the six acts, including detailed stage setups, colour schemes, costumes, and body language. The musical scores also seem to be very complex pieces.
Funnily enough, it was difficult to identify typos because I was unsure whether a word was spelled wrong or whether it was wordplay so skilful I just didn’t understand it. The editing was quite professional, and I only caught a couple of errors. However, one non-grammatical confusion I had was why Pimpleton was sometimes the “Luniversity” and sometimes the “adversity.”
One potential issue is that a lot—if not most—of the linguistic details might get lost during the actual performance of the play. This applies especially to small words that aren’t in otherwise particularly interesting sentences, such as saying “snuffice” instead of “suffice.” Another potential issue is that the entire script is a string of twisted-up words, heavy philosophical concepts, and multiple levels of meaning. Somebody who isn’t exceptionally abstract in thought or invested in art philosophy might become bored or fail to hang on to the multiple threads of theory, especially if it is being watched and not read. There is a lot to be processed in terms of theoretical material, and I believe the audience might not get enough time to digest all the concepts it if they watch it live.
I wish I knew what kind of audience the author was looking to target. From what I’ve seen, this piece most probably has an extremely niche audience. I loved this play only because I am heavily into art history and I enjoy clever wordplay. I would have also probably not have enjoyed this play as much if I had watched it instead of reading it. I would only recommend Nothing is More to people who have some background in the philosophy of aesthetics and enjoy following numerous metaphysical threads at once. I would also recommend this only to audiences over eighteen due to the graphic content."—ONLINE BOOK CLUB
"...Some of the longer sections of dialogue had much philosophical meat on them and some fascinating insights into the way we view and cherish the opinions of 'artists' and 'experts,' often at the expense of our own common sense or gut feelings ... In many ways I was reminded of a much more extreme FlashHeart from Blackadder, morphing to the extreme pragmatism and cynicism of Blackadder himself ... 'and now for something completely different!'"--GRANT LEISHMAN, READERS' FAVORITE
"Nothing is More: A High Black Comedy in Verse with Music for Six Actors demands much from its readers, who ideally will be drama students with a penchant for satire, verse, and the outrageous. Anyone expecting a staid story or a typical outline of dramatic form is in for both a revelation and a treat, because Nothing is More delights in the unexpected, from blatant and ribald sexual explorations to archaic and whimsical explorations of college courses as odd as Feline Transgender Studies.
In other words: toss any expectations out the window and settle back for a challenging but unique, rollicking ride as Dolly Gray Landon romps through academia and social inspection with an eye to probing the roots of artistic and social revolution alike.
Ideally, this play will be performed, but a six-hour production is a lot to commit to, for most theatres. College students and avant garde stages will be more likely to undertake the production of this complex story, knowing that an audience of literary-minded social scientists will be highly appreciative of both the literary achievement of putting together a six-hour production entirely in verse, and the story's focus on personality clashes, cultural and religious references, and sexual and social revelation.
It should also be mentioned that no group is immune, here. Landon pokes fun at and makes pointed observations of just about everything in this circle, which holds as much potential for offense as it does insight.
The result is a well-crafted, complex, dramatic work that will gain attention not just from innovative drama students and producers, but from readers of plays, who will find it delightfully quirky and whimsical in its creative, complex inspection of the evolution of dogmas and schemes in the art world. "—DIANE DONOVAN, Senior Reviewer of MIDWEST BOOK REVIEWS (July, 2019 edition)
"Nothing is More by Dolly Gray Landon is an outlandish play, consisting of six main characters, that takes place at Pimpleton State Luniversity. Yes, we did spell university “Luniversity,” and, in fact, many words in the play are cleverly altered to better fit the play’s theme and bring clarity to the emotions or perspective of the moment. The main protagonist is a character by the name of Phangbang Bonation who is an adherent to “Nadaism,” an artistic and philosophical counterculture experiment that discards all contemporary culture and politics. The true adherents to this movement even had their Nadaist Manifesto read from a roll of toilet paper by poet Gonzalo Arango. Phangbang Bonation has revived this artistic movement with his minimalist artistry that consists of nothing. Yes, he offers nothing, much like some of the new music offerings that are foisted on today’s masses that lack instrumentation or talented vocalists. Like real life, Bonation’s illusory works are extolled by the critics and lauded by the masses. The praise and notoriety he receives for his nonexistent work disturbs Pelvin Penisovich and Purvel Schlignatz, his stool degree candidate contemporaries. Phangbang Bonation is also guilty of frivolously stealing the hearts of the girlfriends of Pelvin and Purvel, adding to their angst. Bonation’s actions prompt the two to join together in a plot to expose Bonation as a fraud. How do they go about this task and are they successful…?
The play is BIG; estimated time for the production is six hours. Landon provides music scores that are written to play as an accompaniment to the reading of his play and has produced numerous pieces that are available on YouTube that would be played during the actual production. One piece is called “Pornomusik” (Op. 48). It is a piece with discordant sounds woven into the music. You hear a dog barking and various voices, some using expletives. Landon’s music is as avant-garde as his writing. This six-act play is a bit bawdy and often is making fun of numerous beliefs and customs that society foolishly embraces.
There is a great deal of poetry in the words Landon delivers in his work. An example of such is:
’Tis a virtual quest for the Holy Grail. I study the telltale behavioral signs In clutters of cute, cuddly young felines To ascertain which sex has the stoutest of spines. ’Tis the tarnal question of what makes the female versus the male...and then some. My experiments have shown an incontestably conclusive outcome. Namely: by reversing the sexual role-playing patterns in nubile young pussies, I've managed to demonstrate, beyond the shadow of a doubt, that male cats are the wussies. Suffice it to say that these rigorous experiments Involve a level of complexity. Such that my tempts to expound them to thee Would only ingrowth thy perplexity.
It’s obvious from the sample above, that Landon has a fondness for the use of some archaic words like “tarnal,” to embellish his play. In fact, much of the verbiage used, such as “tarnal,” gives the play a ring of a piece from the 18th century but at the same time addresses contemporary issues. Landon has penned another enormous and somewhat complicated theatric treat that once again showcases his brilliance."—DHearne, AUTHORSREADING
"...a mix between Shakespeare and Joe Dirt ... uniquely written ... hard to put down ... fast pace ... unusual environment ... unique."--Anthony Elmore, READERS' FAVORITE
"This physiological thriller is amusing and engaging right from the start. Act one introduces us to the characters, all of which I found interesting but one more particularly so was Purvel Schlignatz. He’s a graduate student who is focused and open-minded, but gets convinced to do things that he sometimes does not subscribe to … The drama and romance blended easily and were equally entertaining … Dolly Gray Landon’s story is exciting … and filled with characters with quirky names having engaging conversations. I … got to learn a few new words, as the jargon used by the Stool candidates was compelling … Everything from the plot, literary stylistic devices used, character and writing style were excellent. I would recommend this book to anyone who enjoys reading plays and wants to enjoy a good story. Keep a dictionary handy as this story will surely increase your vocabulary.
Wealth, power, the socialite life, education, relationships, and peer influence are some of the themes covered in the book. The author’s sense of humor is subtly apparent throughout and serves to deliver a larger satirical story that kept me laughing, entertained, and quickly flipping pages."—LITERARY TITAN
"... philosophically challenging work ... As many conspire to rebuke ... and uncover the nonsense artist for what he truly is, the schemes take twists and turns to a startling and unusual climax ... Students of both art and philosophy are sure to get a lot out of the ideas discussed by playwright Dolly Gray Landon ... for those who appreciate a critical challenge with plenty of dark laughter, ... sure to bring smirks to lips ... recommended as a powerful intellectual work for a select audience."--K.C. Finn, READERS' FAVORITE
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LISTED BY AMY'S BOOKSHELF REVIEWS AS THE TOP BOOK OF 2018: http://writeramyshannon.wixsite.com/bookshelfreviews/top10
"Many elements make Jagdlied a unique title that defies easy categorization as a novel, thriller, or other singular genre accomplishment. While it's all of the above, it's also a performance piece, a literary roller-coaster, a "musically and graphically enriched chamber novel", a satire, a work of art, and a psychological striptease. One might not expect the seriously dirty, cruel element of the story line; but this too is one of the many pieces that make Jagdlied fairly indefinable.
First of all, readers should keep a dictionary close at hand. This is no whimsical romp, but holds language that is dense, paradoxical, and satisfyingly educational for readers who fancy themselves wordsmiths: "Appreciating these "fun facts" about our beauteous young demigoddess, our besotted young aristo - the disconsolate, lachrymose, and wretchedly heartsick young wooer publicly known by the sobriquet "Threwer in the Sewer" (whose solo Dutch act, on Melody's behalf, had inspired a wave of solitaires all across the country and abroad) - had written her the following ditty, as a kind of sympathetic ode, if thou wilt, to the aforesaid barb in her side..."
As poetry, black and white and color illustrations, and scathing satirical observation permeate the story of a coddled rich girl's questionable ethical and moral standards, readers will find the complex descriptions, wordplays, and scenarios to be both demanding and entertaining, all in one: "Suffice it to observe here that, seeing as our castigated cokitten found herself arched over in such an impertinently conciliatory posture, this publicly transgressive perscrutation of her backslice didn't unfail to forgo the kankerdort of consternating her profusely." (Note: this book is offered in both color and black and white versions - the black and white one is considerably less expensive.)
By now it should be obvious that this tour de force is a thriller of linguistic acuity designed to delight a genuine aficionado of the English language. From the neo-heroine heiress Melody's position of power and layers of exploitative behaviors to her come-uppance, fostered by those who have suffered her slings and arrows, Jagdlied is at once indefinable because of its mercurial approach and satisfyingly whimsical and unique in its scathing presentations.
Love and hate, revenge and redemption, and a diamond-studded thriller atmosphere that demands much from its readers while rewarding its audiences with a compelling, sassy set of characters and conundrums make for a read that is hard to put down.
Whether it's passive-aggressive behavior in front of a judge or a "commiserable coquette" who falls from grace and finds herself immersed in situations beyond her control, Jagdlied offers a lovely synthesis of graphic illustration, music, and a powerful, satirical hand heavy on the written word that creates a lively romp. Because the author has embedded over a hundred YouTube videos into the text, readers will ideally have their headphones powered up to absorb the musical interludes and references.
Readers will want to allow plenty of time to absorb both its captivating descriptions and the underlying nuances of Melody's encounters in a story that is especially recommended for literary readers of experimental writings and thrillers which are quite a notch above the standard formula fare."—DIANE DONOVAN, Senior Reviewer of MIDWEST BOOK REVIEWS (April, 2019 edition)
“...a psychological thriller charged with dark humor, erotica, and thought-provoking philosophical questions ... unlike anything I have ever read ... you get immersed and entirely consumed by the events ... a roller-coaster that keeps you on the edge of your seat. Questions and discussions on philosophical topics, life, love, democracy, Marxism, the types of brain, and the struggle of the worker against machinery add depth to the prose. Musically and graphically enriched, the prose was a feast that satiated my mind, eyes, and ears ... an extraordinary reading experience ... Reading this book will take you on an epic visual-auditory adventure, and is bound to keep you glued to your seat till the very end.” —ONLINE BOOK CLUB
“...monumental ... farcical story evolving around the adventures of a spoiled teenage entitlement princess ... a huge undertaking ... [the author] also composed all of the music and masterfully performs the majority of it ... Perils of Pauline on steroids— modernized, more exaggerated, highly extravagant, and decadent ... lavishly illustrated with drawings that have a sixties Haight- Ashbury summer of love feel to them ... He proves himself a master cartoonist that can create a tapestry of masterfully detailed and storytelling images with an astonishing diversity of style and creativity. There is a satirical edge to most of his drawings that profoundly helps convey the harrowing, tragic, and juicy stories. The book’s inherent drama is expressed vividly in the multitude of graphics that show the characters with unique faces, attitudes, and emotions ... full of villainous cut-throats who masquerade as Melody’s friends ... many comic scenes and eccentric personalities, which play an integral part in both the plot and the theme ... Much of the dialogue is copiously enriched with words that are inventions of [the author’s] ... a colorful cast of characters consisting of eccentrics, beautiful damsels, the unsophisticated and everything in between ... [Landon’s] narrative sweep is so great and so strange that it lends itself readily to graphic depictions and to ... musical accompaniment. His work is masterful, stylistic and complex. This is a huge book ... uniquely entertaining and truly worth experiencing.” —AUTHORSREADING
“The author has skillfully crafted a tale of sour love, questionable characters, jealousy and revenge ... told vividly and imaginatively ... a thrilling literary ride through the protagonist’s experiences as a princess whose castle is falling apart by the brick. On one hand, you feel bad for her but on the other you would rather not bother. This quality leaves the reader so gloriously torn between the characters of the book. Not to mention glued to the pages as the story unfolds ... The readers will find themselves quite easily drawn into the story. The unusual tone and a touch of simplicity for the complex plot are welcoming and appealing. They beg the reader to read just one more page. To find out what happens next and then next. The term ‘page turner’ was coined for this book ... To the intrigued reader, beware, this book is quite a dirty sex crazed romp. Conservatives better brace themselves, keep a bible handy, and an open mind because you will hate how much you enjoy the erotic quality of this book. Rarely does a book possess so many winning qualities. Humor, drama, erotica, tragedy and much more. All delivered with expert craftsmanship and a generous dose of thrill ... a very enjoyable and entertaining ride.”
—LITERARY TITAN (WINNER OF THE LITERARY TITAN BOOK AWARD)
“...a multifaceted novel about a wealthy heiress, socialite, and trust-fund diamond-digger debutante named Melody. Intending for Jagdlied to be acted out and enjoyed with the accompanying illustrations and musical scores, Landon’s alter egos—Gary Lloyd Noland and Lon Gaylord Dylan—contributed to Landon's satirical and (aptly) self-described “chamber novel” with symphonic compositions and comic-strip style images. Throughout, Landon writes a narrative that follows Melody, the protagonist and anti- heroine, as she navigates everything from business to broken hearts, and courtrooms to carnivals ... The links to the author’s original music compositions on YouTube are also provided and ... made the scores easy to play on cue. My personal favorite ... was Mumbo Gumbo (Op. 71, No. 1), which gave me the biggest smile ever with a Ragtime meets Flight of the Bumblebee rhythm. Jagdlied is everything it sets out to be and the creative genius of Landon is delivered at full throttle. In short: I loved this book. It’s a wholly unique concept but I was able to grasp it easily and look forward to any opportunity to act this out with my most open-minded friends; those who have the same scruples as myself ... No scruples, whatsoever. Highly recommended!” —JAMIE MICHELE, READERS’ FAVORITE
“...am flabbergasted ... by the magnitude (bigger than Our Bodies, Ourselves) ... by the multi-media Gesamtkunstwerk ambitions ... by the Joycean wordplay ... exuberant code-switching, diction-mixing, blending of disparate linguistic ingredients into previously unknown harmonies and cacophonies. Like Finnegans Wake or The Anatomy of Melancholy ... I look forward to dipping into it for years to come” —CHRISTOPHER MILLER (AUTHOR OF SUDDEN NOISES FROM INANIMATE OBJECTS & AMERICAN CORNBALL)
“...creative genius ... unique ... thought-provoking ideas and language ... memorable and enjoyable. I highly recommend this creation as an experience not to be missed!” —GOLFWELL.NET
“...a thriller novel unlike any other. Its words lead you on a journey that gives a unique literary style ... I was curious and lost within the pages immediately. The plot was complex. Dolly Gray Landon knows how to write in a way that [piques] one’s interest and holds it until the end ... There was a combination of styles poured into this book ... a rich, fun, and ... epic read.” —URBAN BOOK REVIEWS
“...a work of arts-based literary fiction ... [it] provides the opportunity for artists, creators, performers, musicians and the like to expand on the story and present it in much more theatrical terms. The tale itself is a wild ride where a wealthy young woman finds her undoing, but the plot goes far beyond this single girl, ranging between sick-lit, grotesque, surrealist and absurd themes definitely kept me reading! I think the concept of treating the plot of Jagdlied with a wider artistic series of tools is an excellent idea, and I could certainly see the wild and absurd moments of the story enticing and inspiring spontaneous performance ... a niche read for artists of all kinds looking for something unexpected to create ... an explosive collection of content that will certainly get creative minds going ... not for the faint of heart.” —K.C. FINN, READERS’ FAVORITE
“...a stunning piece of literature that enthralled, entertained and enchanted me from the very first page! ... will captivate readers from all genres thanks to the many themes that are interwoven between the pages ... brilliant! ... took my breath away ... impossible to put down ... unforgettable ... if you are a reader who is tired of reading the same old books that are lackluster and forgettable then take a chance with this one ... you will not be disappointed! This incredible book gets Five Stars from me!”
—AIMEE ANN, RED HEADED BOOKLOVER
“...a chamber novel that reads like a comic thriller complete with musical sidebars and graphics. The princess, more of a teenage heiress who thinks she is entitled to a huge inheritance, is about to be brought down to earth with a very large bump. Follow Melody on a ... farcical journey as she learns some hard truths about life, love and whatever comes in between ... Jagdlied was one of those ‘oh my gosh!’ books ... entirely colorful and strangely eclectic mix of words ... totally outlandish ... genius ... incredibly complex ... creative ... no denying the cleverness....” —ANNE-MARIE REYNOLDS, READERS’ FAVORITE
“...Remarkably creative ... simply magnificent ... this is the first ‘chamber novel’ that I've read ... wonderfully put together. The graphics were vibrant and storytelling ... unique and powerful ... I truly never read anything like it before. The story was filled with satire, darkness and embarked many different aspects about life and human behavior. I enjoyed the entire story and how it all came together, making sense of the wondrous mind of Landon....”
—AMY’S BOOKSHELF REVIEWS (listed as the TOP BOOKS of 2018)
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This musically and graphically enriched chamber novel is an over-the-top black and blue comic extravaganza about the conspiratorial undoing of a teenage entitlement princess. The story throbs throughout with an undercurrent of apocalyptic motifs related to the extinction of art, fall of empire, and coming of the Antichrist. It is an epic farce that reads like an erotically supercharged psychological suspense thriller. The narrative takes the reader/audient on a veritable boomerang roller-coaster ride (with multiple inversions) through a reputational strip-and-whiptease of the novel’s malignantly artful (albeit ingenuously doe-eyed) protagonist: a wealthy young heiress and socialite who boasts an exclusive claim to her progenitors’ munificent estate. Her inheritance comprises an immense fortune amassed through shareholder investments in the world’s largest employment recruiter: the multi-national temp agency behemoth known as the Pleasant Peasant Corporation.
The character-driven narrative of Jagdlied explores themes of jilted love, misinterpreted motives, paranoid ideations, bombastic egos, ghoulish envy, smoldering jealousy, unconscionable revenge ploys, extravagant public humiliations, ruthless power games, insatiable greed, pernicious corruption, feigned moral outrage from all sides, and even (Heaven forfend!) coldblooded murder—all the type of stuff pre-calculated to magnetize your run-of-the-thrill-seeking bookworms and bibliophiles.
A rich repository of tongue-in-cheek nonce words, malapropisms, neologisms, archaisms, spoonerisms, slanguage, and whole swaths of unintelligible nonsense, the text of Jagdlied is also replete with irreverently lurid, salacious, and scatologic elements, which serve to set it in motion as a formidable contender for the distinctive cachet of being regarded (by cultivated aesthetes of omnifarious persuasions) as a momentously serious dirty book. It is targeted towards percipient readers and audients in possession of a well-seasoned sick and—dare it be said—cruel batch of funny bones inflected with a gallows-cum-smoking-room bent.
Whilst the plot of this story (grotesquely absurd as it will undoubtedly be esteemed) embraces reflexively cringeworthy sadomasochistic motifs, its author would hesitate to instyle it as porn, yet he would not be wholly disinclined to characterize it as a farcical parody thereof. And whilst at the same time its author is admittedly predisposed to eschew ascribing labels of any kind to this opus (especially seeing as what he has concocted is so rarefied in its formal structure that it cannot be facilely pigeonholed), it may not be altogether off the mark to view it as a form of literary neurotica (if, indeed, there is such a genre) as opposed to the more boilerplate literotica—or what in sex nazi circles is dysphemistically adverted to (in no uncertain squirms) as “filth.”
Whilst the text of Jagdlied may be read in silence as a novel in the traditional sense, it is ultimately written for the purpose of being recited by a skilled elocutionist to the accompaniment of extemporized music by ad hoc variable ensembles in relatively brief, self-contained or—depending on how one looks at it—semi self-contained episodes with the aid of a do-it-yourself improvisation kit provided in its appendix. This “kit” is likenable to a Baroque-style table of ornaments, albeit comprehending specific sets of chance operations for each and every participant involved in renditions of individual fascicles of this work. Aside from entailing a professional narrator and musical extemporizers, the score discretionarily calls for pantomime actors, dancers (hence choreographers), set designers, culinary artists, and even members of the audience itself.
Suffused with scathing satire from cover to cover, this award-winning “chamber novel” is a deeply unsettling, intellectually probing, neurotically supercharged, musico-graphically enriched psychological suspense thriller about the artfully revengineered conspiratorial undoing of a complacent, over-coddled, trust-funded teenage entitlement princess who is possessed of an eminently questionable code of ethics and morals. The book’s anti-heroine is a beautiful young heiress, socialite, and sugar-daddy-seeking subdebutantilizer called Melody whose inheritance comprises an immense fortune amassed through shareholder investments in the world’s largest employment recruiter: the multi-national temp agency behemoth known as the Pleasant Peasant Corporation. Insidiously sly on the uptake, Melody is quick to abuse her position of power for the purpose of tipping the inequitable scales of the socioeconomic system to her pecuniary advantage not only at the calamitous expense of those who are thousandfolds less privileged than she is but also to the grave detriment of rich and powerful sugar daddies who are, despite their social standings, vulnerable to the sexual machinations she sets in motion by dint of her coquettish charms with an eye to beguiling them out of their monetary assets in conjunction with prickteasing them into granting her unmerited favors to advance her career. She is under the smug delusion that she is achieving her aims by exploiting what she perceives to be their Achilles’ heels—i.e., their psycho-emotional impotence to resist her come-hither cajoleries. It is the age-old story of the filthy rich topfeeding from the pockets of the poor as well as that of a bewitching young seductress manipulating powerful men to achieve her nefarious ends. In the course of a 36-hour timespan our star-crossed heroine learns some rude lessons about life once the tables are turned in her disfavor, whence she experiences sharp vicissitudes of fortune and finds herself in the position of being bountifully force-fed outsized mouthfuls of a Reality Sandwich fixed in her honor by her exploitees and their vigilous cohorts.
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