A simple vista Milo es un perro callejero como cualquier otro. Lo que a nuestro amigo de los otros animales es su pasin por la Opera. l suea un da poder convertirse en cantante de opera y as compartir su talento con el resto del mundo. Lo que Milo no sabe, es que ese da mgico esta mas cerca de lo que l se imagina. Un misterioso ratn llamado Muster lo espera al otro lado del callejn, listo para hacerle sus sueos realidad. Milo, El perro cantor, es un libro infantil que ensea sobre el poder de la Amistad verdadera, el poder alcanzar nuestros sueos y sobre las consecuencias negativas que el orgullo nos puede causar.
Hope that reading this book will frighten any potential horseplayer into being careful not to become an addict. Lots of laughs and entertaining insanity.
Milo Marchetti, an unstoppable but damaged Canadian hero of the Afghanistan War, pursues the love of the unattainable, feisty Adara Nasim, the daughter of Mohammed, the patriarch of the criminal Nasim family of Trieste, Italy. While Milo fights for the woman he comes to love, Adara has to struggle with her deepening need for Milo and the obligation to her father to marry a man of his choice. Can Milo overcome Adara's degenerate brother's attempt to have him arrested by the police for prostitute murders and protect Adara from being killed by the rival Mazzola family? Can he escape the death threat of his former boss in military intelligence, and eliminate Adara's intended husband, a radical, criminal Muslim? Will religious differences be too big a hurdle for Adara and Milo to overcome and will the powerful sexual distraction of another love interest for Milo end his interest in Adara? Worst of all, will Milo's shocking discovery about Adara's relationship with her brother prevent Milo from marrying her and becoming head of the Nasim family?
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My excuse for modifying the title of this book is, that A Drama in Muslin has long seemed to me to be the vulgar one among the titles of my many books. But to change the title of a book that has been in circulation, however precarious, for more than thirty years, is not permissible, and that is why I rejected the many titles that rose up in my mind while correcting the proofs of this new edition. In Neophytes, Débutantes, and The Baiting of Mrs. Barton, readers would have divined a new story, but the dropping out of the unimportant word 'drama' will not deceive the most casual follower of literature. The single word 'muslin' is enough. Mousseline would be more euphonious, a fuller, richer word; and Bal Blanc, besides being more picturesque, would convey my meaning; but a shade of meaning is not sufficient justification for the use of French titles or words, for they lessen the taste of our language; we don't get the smack, and Milord's epigrams poisoned my memory of A Drama in Muslin. But they cannot be omitted without much re-writing, I said, and remembering my oath never to attempt the re-writing of an old book again, I fell back on the exclusion of A Drama in Muslin as the only way out of the dilemma. A wavering resolution was precipitated by recollection of some disgraceful pages, but a moment after I was thinking that the omission of the book would create a hiatus.
Milo Marchetti smells a rat when an exotic woman asks him to arrange a murder with an offer he cannot refuse. He soon finds she's big trouble: the catalyst for confrontations with mobsters and religious zealots, and with police who brand him a serial killer. Drawn into a dangerous affair, dreaming of power, will Milo commit the murder for her? When shocking truths about the woman surface, Milo faces a choice: a deceitful lover and power he could only dream of or a return to his previous life as a musician. Or is another shock in store for Milo?
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