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Currently I have two full sized novel finished. The third of this main series is coming along nicely.

Books by William Porter (Author of Alcohol Explained)

I also have two novellas and several short stories up on Amazon. The first two novels introduce the universe of my hand and paw novels while the others are shorts from the same reality. I live in the state of Maryland and have worked professionally with pets as a sales person for a number of years. I am currently enrolled in a tech college full time to earn a degree in information technology, while also juggling the care of my parents.

My pets include three dogs, one nasty kitty, and a few more turtles than I care to comment on. Are you an author? Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography. Learn more at Author Central. Popularity Popularity Featured Price: Low to High Price: High to Low Avg. Available for download now. Available to ship in days. My human mommy named me after a song, the "Copacabana" song. I guess Lola was a dancer whose pheromones got out of hand, and while in heat, she hooked up with Rico.

I only know this because my mommy told me and sings all the time about music and passion always being in fashion at some place called the Copacabana. I couldn't care less about music, but I do know about passion. I have a passion for Milk Bone biscuits and pig ears, but I digress Barry Manilow sang it; , his rendition was great.

I sashayed around the house singing that too. What could it be? Now this is how the book starts, and I am always sceptical. Will the author be able to keep up the high standard throughout the whole book. Well this author does. It is funny all the way through. What about this from page See the two-legged species think they own us, the canine species. Let me make one thing perfectly clear here: Seriously, just who is the boss here?

And the following on page 13 is both a bit philosophical and funny too: I snorted and then just because it felt good, I shook myself, permitting my little blond hairs to scatter the floor around me. Shaking is a wonderful thing. If the two-legged species could simply shake off their problems, stress, and other human's unkind words, the world would be a better place. That is Pudgy talking. No, it isn't, you haven't heard Jazzy. Here is her introduction: Oh dear, where should I start? I don't like this. I don't like talking to people at all. This is not my bowl of water.

My name is Jazzy and I am a cat. I mean a dog. I am a dog. Oh gosh, I am getting upset now. See what you did? I must lick my feet for a few minutes. Any pet owner knows that each of their dogs or cats or whatever, each one has a personality that defines them. Each one is so different - just like kids! I think tthe characters of the tree dogs are wonderfully described.

After reading these three short stories you know the temperments of these three dogs. That is why I filed this book on my biography-memoir shelf. Dogs belong there too. I met three very different dogs. Each is charming in their own special way. And I got three different stories. Each of the three dogs, Lola, Pudge and Jazzy, told me a story very important to their own lives. Lots of fun for the reader.

The page references refer to the PDF file from which I read.

William Porter

View all 7 comments. May 01, Maghon Thomas rated it it was amazing Shelves: Ok, fist let me say that I seriously laughed out loud the whole time I read this short book! Seriously, people were looking at me. It was the most entertaining and really cute story! Ok, so without giving too much away, I am going to try to tell you some of my favorite goodies for each one. Lola is a hilarious Pekingese, who happens to wake up in Ok, fist let me say that I seriously laughed out loud the whole time I read this short book! Lola is a hilarious Pekingese, who happens to wake up in her human's body.

This is ridiculously funny!! She is pissed, because where's her hair, and things stink, and her bed smells funny! That and the neighbor's "gift".

You get to see both the dog and human's perspectives, and you also get to see personalities with each. I seriously wanna be this dog! Pudgy is the completely embodiment of a Pug. I mean, she snorts, she licks the floor, she is quite active, except when it's nap time hahahaha She also took her role of human and cookie stash when her owner's bakery shop is robbed.

Not only is she refusing to let that crazy human get away with all her cookies, but she is appalled that her human is crying- which I have found out dogs think is terribly ugly! You will have to read to see if she saves the day: Jazzy is exactly the reason I have ALL big dogs! She's never last at my house as I live on a farm, with way too much dirt, and cow poo, and mud, and all kinda dirty dogs! HAHAHA However, her story is the most uplifting, because even though she has the whole snobby attitude, she is a good girl, and what she does for that little old lady made her my hero!

I was so proud! You will have to find out what happens: The writing is perfect because it's written like you're reading a dog's point of view. If you are any kind of dog lover, OR even just a little canine humor, pick this one up!!! I'll get my dogs on it for you: This author is a dog lover. She puts herself in the mind of a dog and creates cute, humorous stories that are a joy to read.

Chevrestt has used her own dogs for inspiration to inject realism into her story. Even the fantasy story has a ring of truth. One of my favorite touches is how the author points out dogs think we have God wrong. It should be dog. They consider that the almighty being, thank you. The first story is my favorite. Be careful what you wish for. Another story or two might have rounded it out a bit more, but the stories within are gems.

Her stories show the differences in breed personalities. The gave me a smile as I followed along in the story. Don't be surpriesd if you laugh-out-loud in a couple of spots. It may be her imagination—it may be a deeper perception that begins to run riot:. It's a special thing, Trisha—the thing that waits for the lost ones. It lets them wander until they're good and scared—because fear makes them taste better, it sweetens the flesh—and then it comes for them.

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It'll come out of the trees any minute now. A matter of seconds, really. And when you see its face you'll go insane. If there was anyone to hear you, they'd think you were screaming. But you'll be laughing, won't you? Because that's what insane people do when their lives are ending, they laugh … and they laugh … and they laugh.

At this point in the narrative, Trisha's not so dehydrated, not so famished, that she doesn't recognize the dangers of incipient hysteria. And yet she knows there's something—or someone—out there, be it ancient god, modern psychopath, or deadly natural creature. The author expertly manages the continuously changing portrait of a girl simultaneously learning survival techniques, even as those new skills waver on the edge of instant obsolescence as her body and mind begin to degrade and fail under the enormous privation she experiences.

As compactly constructed and told as The Girl Who Loved Tom Gordon is, it still manages to achieve a series of valid multiple identities. It's a young adult novel and a novel for grownups. It's a fairy tale and a realistic account of painful detail. It's a horror story about ever-lurking death and the monster that skulks at the edge of the light, and it's a luminous tale of faith and the tensile resilience of the human spirit.

An allegory about sports heroes and life in today's America? Hubert, Jennifer, and Andrew Bowns. Voice of Youth Advocates 22, no. Most of us can remember being lost at least once or twice in our lives. No one ever forgets the sickening feeling that rises from the pit of your stomach when you realize you have wandered off the path. With only a sack lunch and her Walkman, Trisha wanders in the forest for nine days in search of the elusive trail. During that time she experiences sickness, injury, and frightening nighttime hallucinations of a lurking beast that may or may not be real.

Her only comfort is the tinny sportscast emanating from her Walkman that describes the exploits of her baseball hero, Red Sox relief pitcher Tom Gordon. When Trisha finally confronts her fear, which in typical King style has morphed into a huge bear, she does so by winding up and pitching her Walkman right into the bear's face, just like Tom Gordon. The beast is exorcised, and Trisha is finally rescued by a friendly out-of-season hunter.

Few writers can revisit the fears of childhood as well as King, and for most teens these terrors of years so recently lived are especially vivid. While Trisha is younger than some of the teen characters in earlier works, like Christine Viking, or Carrie Doubleday, , the legions of young adult King fans who eagerly await the publication of each new novel will not particularly notice or care. I thought the theme was that life can teach us valuable lessons even if we leave the "trail. Looking at the cover, I thought, "This book is for guys. But I think this book is an eight out of ten, and I would definitely recommend it to a friend.

Fantasy and Science Fiction 97, no. It's a sure sign of the end-of-the-millennium apocalypse: Stephen King has turned in a short book. To be honest, when I first heard about this new novel, I wasn't particularly taken with the premise: I'm not a huge fan of baseball, to begin with sacrilege, I'm sure, to many of the readers of this column, not to mention King himself , and the premise sounded too narrowly focused, reminding me of my least favorite King novel, Gerald's Game , all of which took place in a single room.

But the thing about King is that he's so often able to pull off what he shouldn't be able to, and these less supernatural-based novels I put The Girl Who Loved Tom Gordon in the same thematic class as, say, Dolores Claiborne are often the books of his I like most. It's because he's always so good with characterization and in these, where we don't have the bogeymen and monsters sharing page space, there seems to be that much more room to bring the characters more fully to life.

The Girl Who Loved Tom Gordon

Nine-year-old Trisha McFarland's ordeal in the forest makes for a riveting read, especially when you know how easy it is to get turned around in the bush and become lost. Trust me, the way it happens to Trisha is highly believable. And once we're lost in the woods with her, it's claustrophobic at times, certainly, but hardly as narrowly focused as I was afraid it might be. As for the baseball aspect of the book, it's important, certainly, but you don't have to be a fan to appreciate it. My only real quibble is Trisha's age. King puts her at nine, but she seemed older to me—eleven or twelve.

Snow White story & Snow White songs - Fairy Tales and Bedtime Stories for Kids

But I don't have kids, so what do I know? The Girl Who Loved Tom Gordon stands right up there with the best work that King's produced, and that's very fine work indeed. In Trisha, he has created a wonderfully believable little girl. She might be scared and suffering from hunger, incessant bug bites, and all the other perils of the deep bush, but she has a heart as big as all of Maine.

And it's how King portrays that heart—her despair, yes, but also her determination to beat the immense odds set against her—that makes this such an outstanding novel. School Library Journal 46, no. YA —Tired of the continual bickering between her mother and her older brother, nine-year-old Trisha [in The Girl Who Loved Tom Gordon ] lags behind them on the Appalachian Trail, leaves the path to go to the bathroom, takes a shortcut, and is promptly lost. She follows a stream searching for other people or a road, but unknowingly hikes further and further away from civilization.

Her time alone is spent searching for food, mulling over her parents' divorce, and listening to Red Sox games on her Walkman radio. Relief pitcher for the Sox, Tom Gordon, becomes her imaginary companion and provides the comfort she needs to overcome her fears and loneliness so that she can concentrate on staying alive. One feels Trisha's terror as she endures drenching thunderstorms, tromps through mud-sucking swamps, sees gutted deer carcasses, and falls down rocky slopes.

Readers aren't sure and the tension builds as hunger and weakness wear her down.

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Excitement, fear, and anxiety, coupled with vivid descriptions of the Maine-New Hampshire forests alongside the normalcy of listening to play-by-play baseball games, add up to a top-notch read. There is a point at which people who are cast upon their own resources stop living and begin merely surviving…. Things get wiggy around the edges. Trisha McFarland approached this borderline between life and survival as her second afternoon in the woods wore on.

Because the inspiration for Tom Gordon came to him as a surprise, King also quipped that "if books were babies, I'd call The Girl Who Loved Tom Gordon the result of an unplanned pregnancy" [qtd. The Gretel comparison is accurate, insofar as Gordon is a modern day fairy tale about a girl who gets lost in the woods, encountering strange fantasy creatures in her quest to find her way back home.

Trisha McFarland's imaginary friend of the title, Red Sox closing pitcher Tom Gordon, is one of those strange fantasy creatures, a guardian angel of sorts whose games she listens to on her trusty Walkman. Through sage baseball metaphors he advises the nine-year-old how to "get the save" or, literally, to save herself from the dangers of the wilderness she is lost in But there's an evil creature in the forest as well—a shadowy "something" out there in the woods, stalking Trisha. This something could be merely a manifestation of her creeping paranoia, or it could be a very real grizzly bear.

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Whatever it is, Trisha feels certain that it is a metaphysical creature she terms a "God of the Lost. It watches from the forest, patiently letting her plump up with an all-consuming fear that "sweetens the flesh" before the creature will come out of hiding to eat her alive It is clearly a realist novel, borrowing heavily from the genre of nature fiction and referring endlessly to the real world outside the forest, if not the text. After all, Tom Gordon really is a pitcher for the Red Sox. In his postscript to the novel, King's disclaimer takes pains to claim that famous people are both real and imaginary: The impressions fans have of people who have achieved some degree of celebrity are always fictional, as I can attest of my own personal experience" This remark not only echoes the themes from Misery , but also reader response criticism, in that King posits the difference between a real author and what critics like Wolfgang Iser and Stanley Fish term an " implied author" a construct of the reader's imagination.

While the novel posits Trisha's journey as a fantastic allegory for a "tween-aged" girl's coming of age, we might more accurately compare the text to other "lost in the woods" narratives that have only recently come to dominate contemporary media culture. Whether in the form of "extreme" realiTV game shows like Survivor , or postmodern mockumentaries, like The Blair Witch Project , turn of the millennium texts enjoy tossing the modern civilians of consumer culture back into their uncivilized past, leading to both a psychological and cultural form of regression.

In these texts, modernized representations of primitivism become the topoi of the real. In Blair Witch , especially, the regression to the past that the woods generates also invalidates modern technology as a form of salvation from man's primitive nature. This observation was made by Joseph Andriano. The characters fixate on a movie camera as their link back to postmodern culture, but it merely records their demise—and, in the end, its own. The primitive world whether the forest or its spectral inhabitants wins. But as much as Tom Gordon throws Trisha back to a land of "the lost" in order to "reenter the food chain " as one critic puts it Lundegaard , King's work somehow answers texts like The Blair Witch Project with a less nihilistic and more optimistic ending.

For in King's novella, Trisha eventually finds her salvation through media technology. And—more importantly—through her active, imaginative use of media, she survives the forest. For one thing, Trisha survives by using her radio as a beacon to keep her tuned in to her culture. It keeps her spirits and her fantasy alive. It also becomes a hand tool that protects her, a weapon that she literally pitches at the brown bear in the closing chapter called "Bottom of the Ninth," in order to "save" herself in the game of survival.

This bear, the God of the Lost, ultimately comes to represent either a diseased superego or a bricolage of Trisha's fragmented identity. When she confronts her fear, she sees randomness: It stank of death and disease and everything random" Trisha's journey culminates in controlling the media, both physically and imaginatively. King, in other words, dramatizes the movement into adulthood as a problem of media literacy, or of learning to master and manage the signs of consumer culture.

In this essay, I want to bring together two areas of study to understand King's novel: First, I want to suggest that for all that Stephen King seems to fetishize commodity culture, he at the same time invites what reader response critics call "active reading" as a form of empowerment for those of us caught within that culture. Second, because this book has female fandom at its center—much like King's earlier work, Misery —I want to suggest that King invites a feminist reading position through his representation of childhood—one that investigates and challenges the signs of patriarchy even while it remains heterosexist in its assumptions about filial love.

She now looked back on her panicky plunge through the woods with the mixture of indulgence and embarrassment adults feel when looking back upon the worst of their childhood behavior…. In his characterization of Trisha McFarland as a nine-year old girl lost in the woods, King obviously plays on the reader's sympathies. She seems wholly under-prepared by her upbringing to deal with this situation, if only because she is young and female.

The whole world—which King says in the opening line "had teeth and could bite you with them anytime it wanted"—threatens to chew her up if left alone. By choosing such a character, King's book manifests our culture's essentialist assumptions about childhood and femininity two traits which are often equated in patriarchy. The fact that Trisha can battle the wilderness alone and survive powerfully vies against such assumptions. It is not simply Trisha's gender and age, however, that posit her as vulnerable and sympathetic.

Rather, it is that she is abandoned. True, she is responsible for wandering off the path to tend to her bladder, but King makes it seem as though her parents' recent divorce is to blame for his misfortune. As her brother and mother argue ahead of her on the path, the last words she'll hear are her brother Pete's accusation of Quilla, their mother: This statement, presented in italics at the very moment of Trisha's departure from her family, overtly places the responsibility for Trisha's harrowing ordeal at the feet of her parents. Numerous moments in the text further confer blame on the parents—especially on the father's alcoholism, which King suggests is the cause of the McFarland family breakdown.

In children, divorce commonly generates feelings of abandonment by the absent parent. But by positing that her abandonment is generational, King also implicitly indicts the cultural environment into which Trisha is born. If we empathize with her plight, it may be because—as a culture that inherits a heavy history—we sometimes feel like we have to pay for what our parents' generation has done wrong. In The Girl Who Loved Tom Gordon , King dramatizes this burden in the figure of a child born into a commodity culture so saturated by media and the cult of celebrity that she must learn how to survive the forest of its signs in order to become a proper adult.

Indeed, Trisha herself realizes that she has to grow up early in her forest isolation, when she first gives in to hunger and wakes up from "her very first fainting spell" Recognizing that a lack of food is responsible, she unpacks what little rations she had stowed for the hike and realizes that "she could think like a kid again once she was out of the woods, but for the time being she had to think as much like an adult as possible…. You had to conserve your supplies " 45; italics in original. Nonetheless, Trisha chugs "three big gulps" from her lemon-lime soda and eats both a hard-boiled egg and a Twinkie which tastes so good it is "SECK-shoo-al," she says, borrowing her friend Pepsi's catchphrase In the midst of all these references to careful consumption and choice making, she not only "think[s] … like an adult" but also stumbles upon her radio in her pack, a discovery which King describes in childish terms through indirect discourse: She had brought her Walkman!

Pepsi's "SECK-shoo-al" remark and Trisha's passing catchphrase from the Austin Powers films are not merely references to sexuality and teen culture, but childish refigurations of those very ideas in relation to brand names and consumer goods—in other words, she is fetishizing food. Of course, Trisha is being deprived of this food—this is why she must think like an adult and consciously ration it. The key point is that King places this lack in a context of commodity fetishism: It's not that she merely needs nutrients, but that her only way of comprehending both her suffering and her salvation is through prefabricated food and commercial brand names.

What is of utmost importance, naturally, is her media technology—her Walkman—as significant to her as the very food she needs to live. Later in the book, she will learn a lesson about the "use value" of natural food that offers an environmentally correct epiphany, when, virtually starving, she discovers a bevy of beechnuts. She eats them raw, discovering "more than peace … experiencing her life's greatest contentment" and wants to tell the world how "simple [it] really is…. Just to eat … why, just to have something to eat and then be full afterward …" [].

Now, however, praying was hard. Neither of her parents were churchgoers—her mom was a lapsed Catholic, and her Dad, so far as Trisha knew, had never had anything to lapse from—and now she discovered herself lost and without vocabulary in another way. In his essay, "Deconstructing Horror," Steffan Hantke argues that much of King's fiction questions how we value material objects: In this novella, Trisha's Walkman radio becomes that catalyst, connecting her highly real situation to the fantastic character of Gordon. Hantke also notes that commodities occupy a central role in postmodern horror, generally, and that such objects should be read in relation to "their existence outside of, and in opposition to, the sphere of consumer society" since their value in the narrative often outweighs the value of everyday commodities in the story by rendering them metaphysical Hantke has in mind objects like magic amulets or possessed '57 Chevies—objects which are invested with a spiritual power that lifts them out of the commodity culture and suggests they work in ways other than just economic exchange.

Thus, an object like Trisha's Walkman is displaced from its economic context in such a way that it "cannot be properly owned, or bought and sold. Yet its value is so immeasurable that the fate of the entire narrative universe depends on its circulation and exchange" Material is fantastically rendered spiritual, given a soul and life all its own by capitalist ideology. Trisha's Walkman functions in two ways: Near the ending, when Trisha wields the Walkman as a weapon against the God of the Lost—the bear that has been hunting her—it becomes a baseball in her hands , one that she pitches at the creature at the very moment that a hunter shoots it.

The convenient synchronicity of this occurrence is enough to test the skepticism of any reader of realist fiction, but it is beside the point in King's allegory. Trisha's courage to fantasize is all that matters; her courage and her knowledge as sports fan. What would otherwise be trivial information—pitching technique—here becomes figured as a method of survival.

Fan knowledge and the courage of the childish imagination in a culture of passive consumption is given a sort of power in this book that it does not have in everyday life.