The last best kiss / Claire LaZebnik.
Material type: TextNew York, NY : HarperTeen, an imprint of HarperCollinsPublishers, [2014]Edition: First editionDescription: 374 pages ; 20 cmContent type:- text
- unmediated
- volume
- 9780062252289
- 428 23 LAZ
- PZ7.L4496 Las 2014
Item type | Current library | Collection | Call number | Copy number | Status | Date due | Barcode |
---|---|---|---|---|---|---|---|
- | Perpustakaan MBIP Medini General Stacks | Fiction Book | 428 LAZ 2014 c.1 (Browse shelf(Opens below)) | 1 | Available | 00000229 |
Browsing Perpustakaan MBIP Medini shelves, Shelving location: General Stacks, Collection: Fiction Book Close shelf browser (Hides shelf browser)
305.89923 HAD 2018 c.2 The last kingdom : Skyfall & Ghost protocol / | 366.1 HAD 2018 c.1 Infinity War/ | 366.1 HAD 2018 c.2 Infinity War/ | 428 LAZ 2014 c.1 The last best kiss / | 808.882 BUD 2015 c.1 Esc. / | 808.882 SUF 2020 c.1 Epilog Cinta dari NIZHNY / | 813.54 LUS 2004 c.1 Robert Ludlum's Jason Bourne in The Bourne legacy / |
In this modern take on Jane Austen's "Persuasion," Anna Eliot tries to win back Finn Westbrook, the boy whose heart she broke three years ago. Jane Austen comes to modern-day Los Angeles in Claire LaZebnik's imaginative take on Persuasion, where seventeen-year-old Anna Eliot finds out whether there's such a thing as a second chance when it comes to first love. Fans of Polly Shulman, Maureen Johnson, Elizabeth Eulberg, Stephanie Perkins, and, of course, Jane Austen will love this irresistibly funny and romantic contemporary tale.
Anna is tired of worrying about what other people think. After all, that was how she lost the only guy she ever really liked, Finn Westbrook. Now, three years after she broke his heart, the one who got away is back in her life—and he wants nothing to do with her.
Anna keeps trying to persuade herself that she doesn't care about Finn either, but even though they've both changed since they first met, deep down she knows he's the guy for her. Now if only she can get him to believe that, too . . .
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