![]() ![]() One thing's for certain: this girl totally throws him off his game.Īnatomy of a Player is the second book in Cindi Madsen’s Taking Shots Series. ![]() The last thing he needs is another complication, but staying away isn't an option. But Whitney is so much more than Hudson expected, and soon enough, he's in too deep. When his teammates bet him that he can't land the gorgeous but prickly new reporter, he accepts the challenge, boasting he'll have her in bed by the end of the semester. With his life spiraling out of control, Hudson Decker's looking for a distraction. ![]() To keep herself from breaking her no-sex rule with the temptingly tattooed athlete, she decides to use him for a side project: Anatomy of a Player, to help Whitney-and women everywhere-spot a player, learn what makes him tick, and how to avoid falling for one. But Hudson Decker, the bad boy of the hockey team, is about to test her resolve. She's focusing on her future career and her first assignment at the college newspaper: Posing as a sports writer for an exposé on the extra perks jocks receive. Published by Entangled: Embrace on January 25th 2016Īfter getting her heart broken by a player again, Whitney Porter is done with men. ![]()
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![]() ![]() Indeed his difficulties would have been even greater if it was difficult to conceive of interaction between the Cartesian res cogitansand res extensa, how could we in any intelligible way conceive of the correlation between the unfolding realm of psychological duration and the completed, timeless, i.e. world of mind and the timeless world of matter, he would have run into the same inextricable difficulties as his seventeenth century predecessor. ![]() Had Bergson retained this sharp distinction of the temporal. It was a dualism of a different kind than the dualism of Descartes: instead of the opposition between extended matter and unextended mind, Bergson posited the duality of the timeless, spatial world and the temporal world of psychological events. Bergson’s first book asserted a sharp dualism of the psychological and the physical world. ![]() ![]() ![]() ![]() Bodoni Ultra Bold – a faux nineteenth-century revival – was used within the quartic for the publisher’s name, while two weights of the relatively new (1927–8) Gill Sans were used for the remainder of the front cover and spine information. The colours used to indicate subject matter – initially just orange for fiction, green for crime, dark blue for biography, cerise for travel & adventure, red for plays – were an aspect of the design which far outlasted the original layout. The design featured typefaces popular at that time. The basic horizontal tripartite division of the covers, as well as the penguin itself, were devised by Edward Young, who became the company’s first Production Manager. ![]() The first Penguin titles appeared at a time when the various roles of designer, art director and printer were not clearly differentiated. ![]() |