It examines and subverts the tropes of mystery and crime storytelling in which the narrative always begins with the body of yet another murdered woman. They are mothers and daughters, teachers and students, lovers and wives, actresses and extras. They have been taken, but their stories still remain. This is how they set the plot in motion.

    Michener brings history to life with this 400-year saga of America's great bay and its Eastern Shore. Following Edmund Steed and his remarkable family, who parallel the settling and forming of the nation, CHESAPEAKE sweeps readers from the unspoiled world of the Native Americans to the voyages of Captain John Smith, the Revolutionary War, and right up to modern times.

    Her big sister is the most popular girl in school9. Her little sister is a certified genius8. She's in love with her big sister's boyfriend7. She got caught selling celebrity portraits in school6. And now she's being forced to take art classes5. She's just saved the president of the United States from an assassination attempt4. So the whole world thinks she is a hero3. Even though Sam knows she is far, far from being a hero2. And now she's been appointed teen ambassador to the UNAnd the number-one reason Sam's life is over?1. The president's son just might be in love with her

    Ajax Penumbra seeks a book--the single surviving copy of the Techne Tycheon, a mysterious volume that has brought and lost great fortune for anyone who has owned it. Late one night, after another day of dispiriting dead ends, he stumbles across a 24-hour bookstore, and the possibilities before him expand exponentially.

    In I Would Leave Me If I Could, she reveals never-before-seen poetry of longing, love, and the nuances of bipolar disorder.

    She is a lifeguard at the pool at the Dunes hotel in Las Vegas, caught off guard by the new attention from men and boys, not quite sure of her own footing in the world. Her mother, Kathy, suddenly finds herself in a place equally uncertain: her children getting older, her stable marriage perhaps too stable, the slow days of summer leaving her adrift. When Kathy meets Helen’s boss, the manager at the pool, her life is on the brink of a different sort of change.Following Helen and Kathy through three summers, this novel is an intimate picture of two sexual awakenings under one roof and their aftershocks on a family. The Perfect Age is set in workaday Las Vegas, where people are married at drive-through chapels, and escort services are advertised alongside 99-cent shrimp cocktail. The novel takes the reader beyond the glitz of showgirls and Elvis impersonators and reveals the everyday life in homes and schools, and among the lukewarm waters of Lake Mead and the semi-cool of the surrounding mountains. In The Perfect Age, Heather Skyler explores the nature of beauty, sex, and class divisions in a society where things are at once normal and bizarre, showing us that the validity of life’s deepest experiences—love, betrayal, acceptance—is never compromised by age.

    She has never even been on a weekend away with her boyfriend. Everyone knows she is just not the adventurous type.But, when her boyfriend doesn't turn up for their romantic mini-break, Nell has the chance to prove everyone wrong.Alone in Paris, Nell meets the mysterious moped-riding Fabien and his group of carefree friends. Could this turn out to be the most adventurous weekend of her life?

    When the firm of Meadows, Meade & Grindley hires Dougal Douglas (a.k.a. Douglas Dougal) to do "human research" into the private lives of its workforce, they are in no way prepared for the mayhem, mutiny, and murder he will stir up. "Not only funny but startlingly original," declared The Washington Post, "the legendary character of Dougal Douglas...may not have been boasting when he referred so blithely to his association with the devil." In fact this Music Man of the thoroughly modern corporation changes the lives of all the eccentric characters he meets, from Miss Merle Coverdale, head of the typing pool, to V.R. Druce, unsuspecting Managing Director.

    Oh cabbage leaves, oh roses, oh orange-slice childhood grins: this book broke my heart. Its sad memory-tropes come from fairy tales and childhood books. With language, Gaudry is as loving and careful as one is with a matchbook . . . when wishing to set the whole world on fire.” —KATE BERNHEIMER“Molly Gaudry’s debut evokes the spirit of iconic fairy tales that have transported readers for centuries. Her variations on these themes delineate the psychological journey from girlhood to womanhood. But We Take Me Apart is more than a retelling. In it, Gaudry reconstitutes the essence of what makes fairy tales compelling, and she does so imaginatively and with great attention to language, the earmarks of poetry.” —CHRISTOPHER KENNEDY“If you consider her novella poetry, then it borrows much from prose. And if you see it as prose, it allows for a poetic flavor. Gaudry walks this line with great poise and in that poise we find her greatest strength as a writer.” —THE BROAD SET WRITING COLLECTIVE“A Molly Gaudry word is so precise, it feels like a sentence.” —GREAT TWIN CITIES POETRY READ & ROAD SHOW“An epic poem of epic mastery, We Take Me Apart centers on a girl who grows into a woman who grows into a heroine.” —PRICK OF THE SPINDLE“This incredible verse novel(la) is infused with fairy tales and Gertude Stein, not to mention Gaudry’s own dreamlike, luscious voice. An almost visceral delight.” —FLAVORWIRE“Gaudry’s mastery of language, [her] use of . . . silence, the wet white space around the burn of language, reads at times as if a character from Beckett had crawled or hobbled into a fairy tale—the kind of Beckett character that keeps his or her silence, only to suddenly wax eloquent in manic bursts.” —AMBER SPARKS“A cross between silence and fairy tale, Gaudry’s Beckettian narrative sews bright bits to near-faint whispers, slowly swaddling us in quiet and darkness.” —BRIAN EVENSON“Amid this stark environment, Gaudry’s gorgeous lyric voice guides us through.” —ASIAN AMERICAN LITERATURE FANS“Molly Gaudry must have revised this gem of a novella over and over and over to get the wording, the rhythms, the images, etc. just so. . . . Not a word is out of place, nothing is missing, no extra words are added. Molly Gaudry has worked this section, and every other section in the book, to the very essence of what is necessary to capture her readers and not let them go.” —EMERGING WRITERS NETWORK“[Cormac McCarthy’s Blood Meridian] is famous for its poetic prose and unflinching violence, but there’s a void of femininity. . . . Enter Molly Gaudry. . . . [Her] prose, steeped in poetry as much as McCarthy’s, spirals upward, elevating and exploding. The creators and destroyers, the beautiful and the gory, and the mythical and contemporary all thrive in balance. To read Molly Gaudry is to read Angela Carter’s cutthroat narrative spoken through the hopelessly hopeful characters of Lydia Millet, all arranged in space with the care of an impressionist painter.” —HOBART“We Take Me Apart is a dazzleflage of a book. The stuttering disrupted language of this cubist concoction disappears before your ears, sinks into your eyes. This aggressive dress camouflage reweaves Gertrude Stein’s rewoven grammar of worsted silk-screened gabardine into a fully ripped patois-ed pattern of stunning wonder.” —MICHAEL MARTONE“Molly Gaudry’s We Take Me Apart works ‘thread into lace.’ . . . Especially vivid in this book-length work is the mother’s entrance and exit, where the ragged lines swell and turn sonnet-like with love.” —TERESE SVOBODA“In Molly Gaudry’s We Take Me Apart, the ordinary becomes mythical, what may be autobiographical becomes a fable, and simple lines or sentences ring with ominous music. Even the empty space between the lines seems to resonate with invisible narrative. A stunning debut.” —RICHARD GARCIA “White space, planes and planes of it. . . . We Take Me Apart is a novel’s answer to a room. . . . I read it three times . . . inhaling its perfume. . . . The scent is delicate and leaves a trace of itself. . . . The book details grace. . . it will haunt like a remembrance of fragrance or swoosh of hair or panoply of mother as tart then sweet and suddenly elusive as memories of one’s own.” —AMERICAN BOOK REVIEW“Gaudry’s work implies that life, at its most essential, is the memory of love, hope, and the rooms it has occupied. . . . We Take Me Apart is an exercise in empathy for the reader. It is pure song and story. This book is a gift.” —[PANK]

    The Familiar (Volume 1) ranges from Mexico to Southeast Asia, from Venice, Italy, to Venice, California, with nine lives hanging in the balance, each called upon to make a terrifying choice. They include a therapist-in-training grappling with daughters as demanding as her patients; an ambitious East L.A. gang member contracted for violence; two scientists in Marfa, Texas, on the run from an organization powerful beyond imagining; plus a recovering addict in Singapore summoned at midnight by a desperate billionaire; and a programmer near Silicon Beach whose game engine might unleash consequences far exceeding the entertainment he intends. At the very heart, though, is a twelve-year-old girl named Xanther who one rainy day in May sets out with her father to get a dog, only to end up trying to save a creature as fragile as it is dangerous . . . which will change not only her life and the lives of those she has yet to encounter, but this world, too—or at least the world we think we know and the future we take for granted.(With full-color illustrations throughout.)

    Above all, as a very young child she decided one day that even if there was no other person in the world who loved and wanted her, she was going to love and care for herself—and that decision changed the course of her life. Africa’s Child is the story of a mixed-race girl growing up in the Usambara Mountains of Tanzania, East Africa. Raised in an orphanage with no knowledge of her origins or family, she endured abandonment, hardships, severe illnesses, and bullying. Her experiences as a child and teenager included physical, emotional, and sexual abuse, social stigma, and racial discrimination.Yet Nhambu tells her inspiring story with warmth and humor. Her questioning mind probes the African tribal realities and multi-cultural complexities that impacted her life both at the orphanage and schools run by German nuns as well as at an African high school with American nuns. Nhambu not only survived her childhood but triumphed. Her faith and resilience, along with a belief in learning and her tenacious pursuit of an education, sustained her through many challenges. Dance, especially African tribal dance, became the way she healed and nourished her spirit. Through the love and commitment of an American teacher she met in Africa, Nhambu was able to pursue her dream of education and a new life for herself. The first book in her three-part memoir ends as she is leaving Africa for university studies in America on a full scholarship.Maria Nhambu is the creator of Aerobics With Soul®, a fitness workout based on African dance.

    In I, Rhoda Manning, Go Hunting with My Daddy, Gilchrist writes again of one of her most beloved characters, with the hilarity, wisdom, and poignancy that marks all of her fiction. Here, a clutch of stories are told in the voice of Rhoda -- as a child, as a divorced mother of three sons, and as an old woman, recalling the curse and blessing of being the only daughter of Big Dudley. In The Abortion, a young girl whose father is dying and the boy who loves her struggle with clashing notions of what makes life meaningful. In Remorse, a small town hairdresser revisits the last days of his best friend's life and what he might have done to save her. There is a rich vein of sorrow here, but Gilchrist lightens the burden with a grasp of how both folly and grace are born of love. As her characters, both new and familiar, spin out their unlikely fates, Gilchrist proves once again that there is no other Southern writer quite like her.

    Dupin he invented the detective story; and tales such as 'MS. Found in a Bottle' and 'Von Kempelen and His Discovery' pioneered modern science-fiction.As readers will discover, Poe possessed an unrivalled capacity to create atmosphere and suspense, and to probe the dark depths of the human psyche. All the stories in this volume push back the boundaries, making the improbable possible, the familiar terrifying and strange.Contents:9 • Introduction (Selected Tales) • essay by John Curtis19 • The Duc de L'Omelette • [Tales of the Folio Club] • (1832) • shortstory by Edgar Allan Poe (variant of The Duke de L'Omelette)23 • MS. Found in a Bottle • [Tales of the Folio Club] • (1833) • shortstory by Edgar Allan Poe35 • The Assignation • [Tales of the Folio Club] • (1834) • shortstory by Edgar Allan Poe (variant of The Visionary)48 • Ligeia • (1838) • shortstory by Edgar Allan Poe65 • How to Write a Blackwood Article • (1838) • shortstory by Edgar Allan Poe (variant of The Psyche Zenobia)76 • The Fall of the House of Usher • (1839) • shortstory by Edgar Allan Poe96 • William Wilson • (1839) • novelette by Edgar Allan Poe (variant of William Wilson: A Tale)118 • The Murders in the Rue Morgue • [Chevalier Dupin] • (1841) • novelette by Edgar Allan Poe154 • A Descent into the Maelström • (1841) • shortstory by Edgar Allan Poe172 • The Island of the Fay • (1841) • shortstory by Edgar Allan Poe178 • The Colloquy of Monos and Una • (1841) • shortstory by Edgar Allan Poe188 • The Oval Portrait • (1842) • shortstory by Edgar Allan Poe192 • The Masque of the Red Death • (1842) • shortstory by Edgar Allan Poe (variant of The Mask of the Red Death)199 • The Mystery of Marie Rogêt • [Chevalier Dupin] • (1842) • novella by Edgar Allan Poe251 • The Pit and the Pendulum • (1842) • shortstory by Edgar Allan Poe267 • The Tell-Tale Heart • (1843) • shortstory by Edgar Allan Poe273 • The Gold-Bug • (1843) • novelette by Edgar Allan Poe311 • The Black Cat • (1843) • shortstory by Edgar Allan Poe322 • The Premature Burial • (1844) • shortstory by Edgar Allan Poe337 • The Purloined Letter • [Chevalier Dupin] • (1844) • novelette by Edgar Allan Poe357 • The Imp of the Perverse • (1845) • shortstory by Edgar Allan Poe364 • The Facts in the Case of M. Valdemar • (1845) • shortstory by Edgar Allan Poe374 • The Cask of Amontillado • [Fortunado] • (1846) • shortstory by Edgar Allan Poe382 • The Domain of Arnheim • (1842) • shortstory by Edgar Allan Poe (variant of The Landscape-Garden)399 • Von Kempelen and His Discovery • (1849) • shortstory by Edgar Allan Poe

    However, since all of the letters referenced in the film did exist, we decided to publish this gorgeous keepsake ourselves.Love Letters of Great Men follows hot on the heels of the film and collects together some of history's most romantic letters from the private papers of Beethoven, Mark Twain, Mozart, and Lord Byron. For some of these great men, love is a delicious poison (William Congreve); for others, a nice soft wife on a sofa with good fire, & books & music (Charles Darwin). Love can scorch like the heat of the sun (Henry VIII), or penetrate the depths of one's heart like a cooling rain (Flaubert). Every shade of love is here, from the exquisite eloquence of Oscar Wilde and the simple devotion of Robert Browning, to the wonderfully modern misery of the Roman Pliny the Younger, losing himself in work to forget how much he misses his beloved wife, Calpurnia.Taken together, these letters show that perhaps men haven't changed all that much over the last 2,000 years--passion, jealousy, hope and longing still rule their hearts and minds. In an age of e-mail and texted i luv us, this timeless and unique collection reminds us that nothing can compare to the simple joy of sitting down to read a letter from the one you love.

    For in this inspired confection of adultery, revenge, group therapy, and pot roast, the creator of Sleepless in Seattle reminds us that comedy depends on anguish as surely as a proper gravy depends on flour and butter.Seven months into her pregnancy, Rachel Samstat discovers that her husband, Mark, is in love with another woman. The fact that the other woman has "a neck as long as an arm and a nose as long as a thumb and you should see her legs" is no consolation. Food sometimes is, though, since Rachel writes cookbooks for a living. And in between trying to win Mark back and loudly wishing him dead, Ephron's irrepressible heroine offers some of her favorite recipes. Heartburn is a sinfully delicious novel, as soul-satisfying as mashed potatoes and as airy as a perfect soufflé.