After eighteen months as a companion-secretary to a charming but eccentric old lady, she felt she was ready to forget the past and begin again…But a chance encounter on a London railway station brings it all back…

    An unexpected temptation. And stakes so high no one will walk away unscathed…   Gorgeous Nicole is about to get everything she's hustled for. She's having her rich, married lover Rashad's baby. And a lucky break has made her a media heroine—and the perfect new wife material. With one more deception here, a couple more little seductions there, she'll finally push Rashad's wife, Kiara, completely out of his life. With her formidable competition gone, Nicole will lock down Rashad's ever-wandering interest, and be the next Mrs. Eason for sure… But there are some temptations even this sexy schemer finds tough to pass up. Especially her first love, ex-con Ajalon, who's just walked back into her life. His intense hunger, chiseled body, and mind-blowing endurance are throwing Nicole off her game and reigniting emotions way too hot to control—or resist. But he’s also handed Kiara, and another interested ex, the perfect ammo to expose Nicole and blow her world apart once and for all. Now the only guarantee for all involved is shattering scandal—and mutually assured destruction…Praise for the novels of Cydney Rax   “The book we can’t put down.”--Essence® on My Husband’s Girlfriend   “Fascinating, witty, and thought-provoking.” –Zane on My Daughter’s Boyfriend   “Filled with family drama.”--APOOO Book Club on My Sister’s Ex

    When the patriarch of the Weston clan disappears one hot summer night, the family reunites at the Oklahoma homestead, where long-held secrets are unflinchingly and uproariously revealed. The three-act, three-and-a-half-hour mammoth of a play combines epic tragedy with black comedy, dramatizing three generations of unfulfilled dreams and leaving not one of its thirteen characters unscathed.

    . .Sherise, Billie, and Erica will do anything to penetrate the capital's shimmering social circle of movers and shakers, even if it means engaging in some risky business. Sherise's dangerous game with a ruthless powerbroker is putting her on the White House fast track--and derailing her marriage. . . High-powered lawyer Billie will use any weapon to battle her sexy ex-husband between the sheets so she can move on after heartbreak. . . Erica's prestigious new promotion at the Pentagon means bad news for her former-hustler boyfriend that may wreck her dreams for good. . . And when drama even these divas never saw coming turns explosive, they'll have to fight fire with fire, and prove their loyalty to each other--because in D.C. you always need someone to have your back. . . Praise for Angela Winters "Entertaining. . .the pacing is fast and the drama (is) unrelenting." --Publishers Weekly on Never Enough "A Dynasty-esque mix of money, power, sex, and crime." --Washingtonian.com on View Park

    It is a play to make us question a standard institution - Anzac Day, the sacred cow among Australian annual celebrations - but it is the likeability and genuineness of the characters that give the play its memorable qualities: Alf, the nobody who becomes a somebody on this day of days; Mum, the anchor of the family; Hughie, their son, with all the uncertainties and rebelliousness of youth; and Wacka, the Anzac, with his simple, healing wisdom.Undoubtedly one of Australia's favourite plays, the One Day of the Year explores the universal theme of father-son conflict against the background of the beery haze and the heady, nostalgic sentimentality of Anzac Day. It is a play to make us question a standard institution - Anzac Day, the sacred cow among Australian annual celebrations - but it is the likeability and genuineness of the characters that give the play its memorable qualities: Alf, the nobody who becomes a somebody on this day of days; Mum, the anchor of the family; Hughie, their son, with all the uncertainties and rebelliousness of youth; and Wacka, the Anzac, with his simple, healing wisdom.

    She meets and joins up with Lloyd Bophtelophti, a true "original" who has changed his name to avoid alimony payments and who now lives with a paraplegic named Pootie (who also pretends to be deaf in order to get double disability). Thus begins a series of picaresque escapades involving numerous psychiatrists, a TV game show, and, eventually, an ill-fated reunion with her husband. Filled with bizarre characters and events, the play reflects the fractured lifestyles which have become the norm for so many in our tenuous times.

    After a critically acclaimed Broadway premier and successful film adaptation (starring Nicole Kidman, Aaron Eckhart, and Diane West), Rabbit Hole has been hailed as an artistic breakthrough for the highly regarded Lindsay-Abaire. A drama of what comes after tragedy, it captures “the awkwardness and pain of thinking people faced with an unthinkable situation—and eventually, their capacity for survival.” -USA TodayDavid Lindsay-Abaire is the Pulitzer-winning author of Rabbit Hole, which was made into a feature film. He is the author of Good People, Fuddy Meers, Wonder of the World, A Devil Inside and Kimberly Akimbo, as well as the book and lyrics to Shrek the Musical. He has written the screenplays for Rabbit Hole, Rise of the Guardians and Oz: The Great and Powerful. Born in South Boston, he now lives in Brooklyn.

    His former identity as a successful investment banker and eligible bachelor has disappeared. A beleaguered graduate student, she's got no money, no man, and no Ph.D., yet. A year of predoctoral research in Haiti leaves Noire drained. And a trip home to Côte d'Ivoire offers Innocent little more than intermittent sexual gratification. In the aftermath of 9/11, Innocent and Noire are back in New York City and find solace in each other's bed. But even that arrangement collapses under the weight of Innocent's revelation that he has unfinished business in Africa. For Innocent and Noire, patching together their unraveling lives becomes an exercise in hope and humility. With Hunger, Turnipseed lives up to the promise of A Love Noire and has matured into a writer who fearlessly explores the intersection of sex, love, identity, and loss in a cross-cultural context.

    Concerned something has happened to her husband, Jill follows a string of clues to try and find out the secret Charles was keeping from her.

    A sympathetic werewolf, a vampire and an Egyptian princess brought to life when her tomb is opened make this a comedy that has everything."Far and away the funniest two hours on a New York stage....What more meaningful gift could Ludlam bequeath [audiences

    A retelling of Shakespeare's light-hearted comedy of mistaken identity, tangled lovers, meddling fairies, and bumbling amateur actors, set in a wood on a midsummer night.

    In this new Harper Paperback edition, all four shows are compiled into one phenomenally entertaining volume.Mambo Mouth (1991), Leguizamo's first show, was an off Broadway sensation. Leguizamo's portrayal of seven different Latino characters earned him both Obie and Outer Critics Circle awards. His follow up, Spic–O–Rama (1993), a "dysfunctional family comedy," presents 24–hours in the life of one family. It enjoyed a sold–out run in Chicago before relocating to New York where it won its creator a Drama Desk Award. Freak (1998), Leguizamo's Broadway debut, is his own coming–of–age story. A "demi–semi–quasi–pseudo–autobiography," the show was a critical and commercial success and won an Emmy when it was shown on TV. Sexaholix: A Love Story (2001), based on the sold–out national tour of John Leguizamo Live! was nominated for an Outer Critics Circle Award as well as a Tony Award.Alternately hilarious and poignant, always candid and searingly intelligent, The Works of John Leguizamo is a must–have for fans of this inimitable performer.

    Theatre script, playbook

    Marks the seasons of the author's life, her early writing, her work as active media practitioner, and her religio-spiritual writing.

    From the opening "Proem" (prologue poem) he offers in this first book-"I am a Negro: / Black as night is black, / Black the depths of my Africa"-Hughes spoke directly, intimately, and powerfully of the experiences of African Americans, at a time when their voices were newly being heard in our literature. As his Knopf editor Carl Van Vechten wrote in a brief introduction to the original 1926 volume, illuminating the potential of this promising young voice, "His cabaret songs throb with the true jazz rhythm; his sea-pieces ache with a calm, melancholy lyricism; he cries bitterly from the heart of his race...Always, however, his stanzas are subjective, personal" and, he concludes, they are "the expression [of] an essentially sensitive and subtly illusive nature." That illusive nature darts among these early lines and begins to reveal itself, sometimes with shocking confidence and clarity: "Bring me all of your / Heart melodies / That I may wrap them / In a blue cloud-cloth / Away from the too-rough fingers/ Of the world."