As a child, you counted down the days to Halloween, thrilled at the prospect of venturing out into the night in a monster’s clothing and returning with a sack stuffed full with candy. As you grew through adolescence, your tastes gradually changed. You still lived in anticipation of Halloween, but you no longer cared much for its typical offerings. The costumes weren’t real. The candy was too sweet. What you wanted was adventure, panic, black magic. You wanted to find yourself on a dark hilltop, shaking with fear as impossible shadows crept up the slope toward you. You wanted to see the dead sit up in their graves. You wanted to stumble through the fog trying to escape the clutches of a madman. You wanted to survive a nightmare... Death by Halloween is a 'choose-your-own-adventure' style interactive book for adults and mature teens. It features: Masterfully executed hyperlink navigation Over 100 choices Over 50 endings A gender-neutral protagonist Ghosts Ghouls Murderers Self-loathing Cannibals Demons Mutilation Scarecrows Specters Zombies Pie And much more! Please have a look at the sample to get a better idea of whether or not this book is right for you. Because this is an interactive book, the sample chapters will be out of order and not interactive. They will, nevertheless, give you a pretty good idea of what to expect. PLEASE NOTE: As mentioned above, this book has some fairly graphic scenes of violence and is intended for a somewhat mature audience.

    Best of all, he's packed us in his suitcase. He represents an ever-changing population of those raised elsewhere who find themselves beckoned by the history, mystique, and magic-makers of New York City. These poems inhabit their own contradictions, and exquisitely navigate the many complicated sides of what it means to be alive. About The Author: Jon Sands has been a professional teaching and performing artist since 2007. He's a recipient of the 2009 NYC-LouderARTS fellowship grant, and has represented New York City multiple times at the National Poetry Slam. He is the Director of Poetry and Arts Education Programming at the Positive Health Project, as well as a Youth Mentor with Urban Word-NYC. His work has appeared in decomP magazine, The Millions, Suss, The Literary Bohemian, Danse Macabre, The November 3rd Club, and others. He lives in New York City, where he makes better tuna salad than anyone you know.

    The stories range in style from the gritty noir of David Means' "Sault Ste. Marie" to the mesmerizing mythmaking of Louise Erdrich's "The Plague of Doves," while the settings include a village perched on top of an enormous whale (David Lawrence Morse's "Conceived") as well as a swank suite at the Plaza Hotel (Xu Xi's "Famine"). The three most powerful stories seem to have in common the ability to immerse readers in a character's sudden, searing moment of self-knowledge and the way that insight impacts the course of a life. In Edward P. Jones' elegiac, masterful "Old Boys, Old Girls," a hard-bitten con comes to see that redemption is within his reach. Deborah Eisenberg delicately deconstructs a young girl's attraction to an abusive man in the haunting "Windows." And, finally, the storied Alice Munro, in "Passion," conveys the complex inner world of a teenager who discovers she values risk over security.

    The poems’ subject is the natural world, but their images would never occur in nature. This book is serious and funny at the same time, like a big grave with a clown lying in it.

    At least until she realizes her relationship isn't what it should be. Then, in a move as daring as a red satin dress, she does the unthinkable - she calls it all off and makes a promise to God that from now on, she'll save sex for marriage.She's convinced the future is hers for the taking, especially when an undercover cop promises a new romance...and an unexpected friendship with the homeless guy under her stoop brightens her days.But when her carefully balanced life teeters out of control, weddings aren't the only thing to make her cry. Ava has to figure out what life she really wants to live... and what is the world love really means.

    Her poems take us to the flip side of human consciousness, where anything can happen at any time. Tinged with surrealism, her work makes visionary leaps from the quotidian to sudden, surprising epiphanies.

    The book and the dream are the poet’s primary objects of investigation here. Through deft, quietly authoritative lyrics, Fisher meditates on the problems and possibilities—the frail craft—of perception for the reader, the dreamer, maintaining that “if the eye can love—and it can, it does—then I held you and was held.” In her foreword to the book, Louise Glück writes that Fisher’s poetry is “haunting, elusive, luminous, its greatest mystery how plain-spoken it is. Sensory impressions, which usually serve as emblems of or connections to emotion, seem suddenly in this work a language of mind, their function neither metonymic nor dramatic. They are like the dye with which a scientist injects his specimen, to track some response or behavior. Fisher uses the sense this way, to observe how being is converted into thinking.”

    He’s the hottest young agent in Hollywood, who devotes his days to playing online poker—that is, when he’s not closing a $30 million deal for one of his AAA-list clients. And while getting six-hundred-dollar highlights from Cameron’s colorist or organizing the strippers for George’s birthday party come close to causing heart failure for this East Coast girl, the real dangers lurk elsewhere. But Lizzie is a  survivor, and no Machiavellian assistant, lecherous producer, or power struggle at The Agency can douse her nascent dreams of climbing up the Hollywood ladder. But first she has to run down to the Coffee Bean to pick up that triple espresso, or Scott is going to throw something....

    The grace is miraculous, for he aims at intensities, by orders that shape and then restrict feeling to the ardent."—Robert Duncan"What moves us is not the darkness of the world in which the poems were written by the pity and terror and joy that is beauty in the poems themselves. . . . In Wieners the glamor is in the word-music itself."—Denise LevertovSupplication: Selected Poems of John Wieners gathers work by one of the most significant poets of the Black Mountain and Beat generation. Includes poems that have previously never been published, the full text of the 1958 edition of his influential The Hotel Wentley Poems, plus poems from rare sources, facsimiles, notes, and collages by Wieners. An invaluable collection for new and old fans.John Wieners (1934–2002) was a founding member of the "New American" poetry that flourished in America after the Second World War. Upon graduating from Boston College in 1954, Wieners enrolled in the final class of Black Mountain College. Following Black Mountain's closure in 1956, he founded the small magazine Measure (1957–1962) and embarked on a peripatetic life, participating in poetry communities in Boston, San Francisco, New York, and Buffalo throughout the late 1950s and 1960s, before settling at 44 Joy Street in Boston in 1972. He is the author of seven collections of poetry, three one-act plays, and numerous broadsides, pamphlets, uncollected poems, and journals. Robert Creeley described Wieners as "the greatest poet of emotion" of their time.

    Tap Out, Edgar Kunz’s debut collection, reckons with his working‑poor heritage. Within are poignant, troubling portraits of blue‑collar lives, mental health in contemporary America, and what is conveyed and passed on through touch and words―violent, or simply absent.   Yet Kunz’s verses are unsentimental, visceral, sprawling between oxys and Bitcoin, crossing the country restlessly. They grapple with the shame and guilt of choosing to leave the culture Kunz was born and raised in, the identity crises caused by class mobility. They pull the reader close, alternating fierce whispers and proud shouts about what working hands are capable of and the different ways a mind and body can leave a life they can no longer endure. This hungry new voice asks: after you make the choice to leave, what is left behind, what can you make of it, and at what cost?