Detailing a series of filthy and ludicrous episodes in the life of a single family, saddled with a super-eccentric, sexually rapacious father, The Book of Jokes tells the story of the youth and education of a bland young boy doomed to record—in an incongruously serious, autobiographical mode—all the ridiculous incidents befalling his household. With their lives dictated by set ups and punchlines, the boy’s family quickly becomes luridly dysfunctional, and he realizes that the only way to escape his tragicomic fate is by trying to take control of the joke-telling himself. Channeling the spirits of Chaucer, Rabelais, Flann O’Brien, and Gian Francesco Poggio Bracciolini, the Vatican secretary who compiled the first known book of jokes in 1451, The Book of Jokes is a happy raspberry in the face of life as we know and tell it.

    Who are they? They are him and her. They are you and me. They are rowing to salvage what remains of themselves. They are rowing to remember the fun we’ve had."Michael Seidlinger is a homegrown Calvino, a humanist, and wise and darkly whimsical. His invisible cities are the spires of the sea where we all sail our coffins in search of our stories."--Steve Erickson, author of Zeroville“Melding the static, high-concept premise of two humans floating alone on a coffin in a sea devoid of all else with stark and meditative prose, The Fun We've Had evokes a highly unexpected experience, somewhere between Beckett's most hopeless solipsists and the mysterious energy of a child's Choose Your Own Adventure-era dream.”--Blake Butler, author of There Is No Year and Three Hundred Million“It is obvious that Michael J Seidlinger had a great deal of fun writing The Fun We've Had. What more could a reader ask for?”--Michael Kimball, author of Big Ray“The best poets are writing poetry no matter what they are writing, creating entirely new and weird spaces. There is no doubt Seidlinger has made one of the weirdest spaces we will ever inhabit. In The Fun We’ve Had, every visible thing is a love of disturbing tremors, keeping ahead of our ever-curious eyes, hoping to savor every line. What a magnificent book.”--CAConrad, author of The Book of Frank"Seidlinger’s imagination is a sea unto itself, the reader riding these rollicking waves. This book will have you clutching pages as though they’re life vests. Fans of Calvino and Shelley Jackson will dig the slow submerge into this crazy romp."--Joshua Mohr, author of Damascus"Michael J Seidlinger writes with the kind of weird, wonderful, joyful abandon that reminds the reader that world is still the great unknown. In The Fun We’ve Had, he examines the long blank space between life and death, fills it with love and loss and boats made of coffins, with people clinging to life and using the weight of the past as ballast. This is a fun read, true; but it's also a true read, and that's what makes it so beautifully sad."--Amber Sparks, author of The Desert Places and May We Shed These Human Bodies“Ready for an analogy? Here goes: When you need to give a dog a pill, you don’t just jam it down his throat, you wrap that pill in something yummy, like, say, ham. Michael J Seidlinger understands that this principle extends to people and books. So he’s got this pill he wants you to swallow, right? That pill is the truth about love and death and strife and, more generally, the messy mysterious business of being human, and also of being nothingness. Pretty heavy, right? Big old horse pill. But then Seidlinger, no fool, wraps it in the yummy slow-smoked maple goodness of his humor. He obviously had a fine time writing this book, which is precisely the reason you’ll have a fine time reading it.”–Ron Currie Jr., author of Flimsy Little Plastic Miracles

    She was declared the reincarnation of Patsy Cline, or of a teen star like Tanya Tucker or Brenda Lee.Catapulted into the national limelight, Rimes was profiled everywhere from "People" to "The Wall Street Journal." Now she chronicles the pressured life of a teen-aged singing sensation in this Christmas tale. "Holiday in Your Heart" takes the reader inside a show business world where priorities are often misplaced. But in this magical tale, words of wisdom from an older, more seasoned country star and the pending death of a loved one put the young star's thinking and her heart in the right place.

    Trapped in a small, poverty-ridden town in 1933, under pressure from his father to go into the family business, seventeen-year-old Dominic Molise yearns to fulfill his own dreams.

    But there are some who think that Biggest Elvis has to go, and Biggest Elvis himself senses that something ominous is coming. Radio promos to coincide with the 20th anniversary of Elvis' death on August 16.

    Achsa is a lonely, passionate and precocious fourteen-year-old. Isolated at school by her intelligence and disfigurement, troubled at home by the undercurrents in her parents' relationship, she finds comfort and inspiration in the tunes and rhythms she hears on her radio. Hearing a recording by an unknown 20-year-old country singer named Elvis Presley, she fires off a fan letter, telling him she knows he's going to be a star.

    On his fifteenth birthday, precocious Eugene Dingman begins the amazing and death-defying diary of his summer spent as a waiter at a ritzy Adirondack resort.

     "Hello, my name is Tyler Tracer and I am falling apart. I am twenty-four years old, and I have no ability whatsoever to choose an occupation or a hair color." Meet Tyler, the singularly irresistible and straight-talking heroine of Sarahbeth Purcell's touching first novel. An incurable romantic, Tyler's chief obsessions include music, list-making -- and David, the man who broke her heart. Despite an exhaustively detailed list of reasons for why she should just forget about David once and for all -- including (but by no means limited to) chronic illness, terminal self-absorption, and geographical inaccessibility -- Tyler remains hopelessly hooked on him. Hence the wild ride she embarks upon in the wake of her father's death, a ride that takes her from her hometown in Tennessee to sunny Los Angeles, all in hopes of saving David from his ominous take on life. This hilarious and dark cross-country expedition finds our young heroine negotiating the universally perilous terrain of sex, love, and relationships with uncommon verve, wit, and more than a little recklessness. Along the way, Tyler discovers, among other things, the uniquely redemptive powers of roadkill, the fact that enduring love tends to blossom in the most unexpected and unlikeliest places, and, above all, that nothing can stop her from making her own rules and mapping out her own life. Not even herself. A joyous triumph of a debut to which readers will respond with a sense of instant recognition, Sarahbeth Purcell's Love Is the Drug spins a story of bold living and loving that crackles with energy and innovation.

    After a high-priced hooker is killed and one of the world's biggest diamonds is stolen, Joe Speaker, a strip-joint barker and dope addict, stumbles onto the missing jewel, is hunted down and put away for the murder. In prison, he finds that his troubles are just beginning.

    On the eve of his fortieth birthday, Gabe takes his own history in hand in an attempt to reconcile a family shattered by his betrayal of his older brother, Michael. As Gabe contends with a host of personal demons, he recounts his lifelong love for his brother's wife, Myra--whose own demons threaten to overwhelm all three of them.

    For the two years leading up to his murder, Ivers had hosted the underground but increasingly popular LA-based music and sketch-comedy cable show New Wave Theatre.The late '70s through early '80s was an explosive time for pop culture: Saturday Night Live and National Lampoon were leading a comedy renaissance, while punk rock and new wave were turning the music world on its head. New Wave Theatre brought together for the first time comedians-turned-Hollywood players like John Belushi, Chevy Chase, and Harold Ramis with West Coast punk rockers Black Flag, the Dead Kennedys, Fear, and others, thus transforming music and comedy forever. The show was a jubilant, chaotic punk-experimental-comedy cabaret, and Ivers was its charismatic leader and muse. He was, in fact, the only person with the vision, the generosity of spirit, and the myriad of talented friends to bring together these two very different but equally influential worlds, and with his death the improbable and electric union of punk and comedy came to an end.The magnetic, impishly brilliant Ivers was a respected musician and composer (in addition to several albums, he wrote the music for the centerpiece song of David Lynch's cult classic Eraserhead) whose sublime and bizarre creativity was evident in everything he did. He was surrounded by people who loved him, many of them luminaries: his best friend from his Harvard days was Doug Kenney, founder of National Lampoon; he was also close to Harold Ramis and John Belushi. Upon his death, Ivers was just beginning to get mainstream recognition.In Heaven Everything Is Fine is the first book to explore both the fertile, gritty scene that began and ended with New Wave Theatre and the life and death of its guiding spirit. Josh Frank, author of Fool the World: The Oral History of a Band Called Pixies, interviewed hundreds of people from Ivers's circle, including Jello Biafra, Stockard Channing, and David Lynch, and we hear in their own words about Ivers and the marvelous world he inhabited. He also spoke with the Los Angeles Police Department about Ivers's still-unsolved murder, and, as a result of his research, the Cold Case Unit has reopened the investigation. In Heaven Everything Is Fine is a riveting account of a gifted artist, his tragic death, and a little-known yet crucial chapter in American pop history.

    With school over and the locked world of their fathers before them, they rush towards the climax of their youth: a magical weekend in Manchester, the epicentre of everything that inspires them in working-class Britain. There, against the greatest soundtrack ever recorded, a vow is made: to go at life differently. Thirty years on, half a life away, the phone rings. Tully has news.Mayflies is a memorial to youth's euphorias and to everyday tragedy. A tender goodbye to an old union, it discovers the joy and the costs of love.

    The jailbait bass player in her brother Anthony’s band, she grew up traveling the country, playing her heart out in a tight network of show venues to crowds soaked in blood and sweat. The band became notorious, the stars of a shadow music industry. But when Laura was 18, it all fell apart. Anthony’s own fans destroyed him, something which Laura never forgot. Ten years later, Laura finds her true fame with the formation of The Mistakes, a gifted rock band that bursts out of ‘90s Seattle to god-like celebrity. When she discovered Nathan and Sean, the two flannel-clad misfits who, along with her, composed the band, she instantly understood that Sean’s synesthesia—a blending of the senses that allows him to “see” the music— infused his playing with an edge that would take them to the top. And it did. But it, along with his love for Laura, would also be their downfall. At the moment of their greatest fame, the volatile bonds between the three explode in a mushroom cloud of betrayal, deceit, and untimely endings. The world blames Laura for destroying its rock heroes. Hated by the fans she’s spent her life serving, she finally tells her side of the story, the “true” story, of the rise and fall of The Mistakes.

    He is also, along with Robert Frost, Robert Lowell, and Robert Penn Warren, the only author to receive two Pulitzer prizes for his poetry. Featured in this anthology of his writings is a generous selection of his verse, anchored by his two Pulitzer Prize-winning poems, John Brown's Body and Western Star. Hailed by the New York Times as "an American Iliad," John Brown's Body (1929) is an epic chronicle of the Civil War, from the raid on Harper's Ferry to General Lee's surrender at Appomattox. Through a versatile array of masterly short stories, Benét explored such subjects as American society, history, politics, and the supernatural. Among the two dozen stories selected for this volume are the haunting title story and the wrenching A Death in the Country. A final section representing Benét's nonfiction collects several of his penetrating essays on writing and education, including Most Unforgettable Character I've Known. Sensitively selected and thoughtfully arranged, this vibrant anthology will reintroduce readers to an American master.

    In prose of astonishing clarity and intensity, Agee captured the portrait of an appealing and very real boy - serious, pitiable, funny - at the moment of his initiation into a feared yet fascinating world.