He thinks Mount Sinai Hospital is an exclusive golf course and his catheter is a gym bag. His only link to reality is his thirty-five-year-old nephew, who makes his living as a hired gun for thirteen softball teams and still goes by the name College Boy.But College Boy's body has begun to betray him -- almost as much as his lack of ambition. (His only legitimate paycheck comes from a gig as a laugher on a morning radio show.) Not only that, the Dirt King, a small-time gangster who controls all the replacement soil in Central Park, is after College Boy. As their lives collide, College Boy takes refuge in the arms of Sheila -- his uncle's cleaning woman and a part-time call girl.And then it gets weird.

    But I wrote a lot of good poems.”So maintains Anita Liberty, the caustically funny New York City performance artist who was going along happily healing her hurt by hating and humiliating her detestable ex-boyfriend on stage and in print until the unthinkable happened: she had a good date. And one good date deserves another. And another. And another. And, all of the sudden, Anita Liberty finds herself in a predicament. Getting dumped launched Anita’s career–Will falling in love finish it? Who’s more important: her devoted audience or her newly devoted boyfriend? And on top of everything, Hollywood won’t stop calling and Anita can’t figure out if It wants a serious commitment or just a little bit of no-strings-attached fun. From digging mercilessly into the minutiae of her new relationship to dramatically torching every professional bridge she crosses in L.A., Anita refuses to let a big load of bliss get dumped right in the middle of her career path.“He said that my work was amazing and hilarious and smart and that he can’t wait to see me perform.So I had sex with him.”“My boyfriend asked me to change my look.To something other than contemptuous.”{BARGAIN} Whatever Hollywood ends up paying me for the rights to the story of my life.“It’s easier to go back to fantasizing about perfection . . .than to accept that perfection is just a fantasy.”“Boyfriend thinks I’d rather be right than happy.Boyfriend’s right.But I’m not telling him that.”Through blog entries, film scenes, poems, and to-do lists, Anita Liberty documents the perils and pitfalls of dating, sex, relationships, artistic success, and the kind of true love that sucks the creative life out of you to the point where you just end up staring at a blank computer screen and thinking gooey thoughts about your new boyfriend even though you should be writing.

    Follow the flailing escapades of maverick music manager Campbell Ouiniette at the Calgary Folk Festival, as he leaves a trail of empty liquor bottles, cigarette butts, bruised egos, and obliterated relationships behind him. His top headlining act has abandoned him for the Big Time. In a fit of self-delusion or pure genius (or perhaps a bit of both), Ouiniette devises an intricate scam, a last hurrah in an attempt to redeem himself in the eyes of his girlfriend, the music industry, and the rest of the world. He reveals his path of destruction in his own transparently self-justifying, explosive, profane words, with digressions into the Edmonton hardcore punk rock scene, the Yugoslavian Civil War, and other epicentres of chaos.

    The Weary Blues announced the arrival of a rare voice in American poetry. A literary descendant of Walt Whitman ("I, too, sing America," Hughes wrote), he chanted the joys and sorrows of black America in unprecedented language. A gifted lyricist, he offered rhythms and cadences that epitomized the particularities of African American creativity, especially jazz and the blues. His second volume, steeped in the blues and controversial because of its frankness, confirmed Hughes as a poet of uncompromising integrity. Then in the 1930s came Dear Lovely Death (1931) and the radical A New Song (1938). Poems such as "Good Morning Revolution" and "Let America Be America Again" made his pen one of the most forceful in America during the Great Depression.

    Ranging from the 19th to the 20th centuries, writers include James Augustine Aloysius Joyce, Francis Scott Key Fitzgerald, Richard Edward Connell, Henri Nathaniel Hawthorne, Lev Nikolayevich Tolstoy, Jack London, Henri Ringgold Wilmer Lardner, Oscar Fingal O'Flahertie Wills Wilde, Anton Pavlovich Chekhov, Henri René Albert Guy de Maupassant and Edgar Allan Poe.

    Her novels and short stories speak to women and men about their most intense relationships and heartfelt feelings.In this collection of five short stories and a novella, Ms. Godwin is at her best. In the title novella, "Mr. Bedford," a young would-be writer spends time in England under the strange and watchful eye of a rather unusual elderly couple; in "Amanuensis," a charming college student cares for a famous but blocked novelist, with unpredictable results; and in "The Angry Year," a rebellious student is drawn to two different kinds of men until she discovers what she has been running to and from.

    Cummings's affirmation of life resolved into serenity as he described himself as someone "whose only happiness is to transcend himself, whose every agony is to grow." This collection of Cummings reading his own poetry embodies this in an unforgettable way.While perhaps best remembered for his use of such visual devices as typography and punctuation, the sheer sound of Cummings's work imparts a greater, deeper understanding of how its cadences reveal its profound meaning. This rich sampling of his poems and lectures is rendered in what the great Robert Graves called Cummings "own beautifully modulated voice."

    Loosely linked through a grisly murder, its characters must navigate the ambiguous moral landscape of a waning community. It is a moving, sometimes melancholy, often funny novel about family, community, loss, redemption, and coming home. The pleasure lies in exploring the personalities of the characters, none of whom are all good or all bad, and eventually deciding where the reader's own moral lines are drawn. Not since Carolyn Chute's The Beans of Egypt, Maine, has a cast of characters been so shocking, beautifully rendered, and ultimately likeable.

    Sometimes we are the architects of our own fall.Akash Choudry wants a love for all time, not an arranged marriage. Still, under the weight of parental hopes, he agrees to one. He and Jaya marry in a cloud of colour and spice in Bombay. Their marriage has barely begun when Akash embarks on an affair. Jaya cannot contemplate sharing her husband with another woman, or looking past his indiscretions as her mother suggests. Cornered by sexual politics, she takes her fate into her own hands in the form of a lit match.Nothing endures fire. As shards of their past threaten their future, will Jaya ever bloom into the woman she can be, and will redemption be within Akash’s reach?

    

     She tries to remember her mother's voice and the pitch and treble of it passes through her; the rhythm of it so clear that for a moment they are...connected by frail strings. So begins The Land of Women, and we are swept into Fiona O'Faolain's last summer in Ireland, the season of her burgeoning sexuality. It is a time, too, when mother and daughter step toward friendship among the voluminous gowns they make for local brides. Yet that giddy summer also delivers betrayal. Fiona's journey from the shame that ended her girlhood takes her to Santa Fe and to Carlos Aragon, a restorer of antiquities, whose ancestry is mysteriously linked to hers. As he explores their pasts with the precision of an artisan, Fiona must face her excruciating memory. In The Land of Women the past lives in the present, and physical and emotional geography touch.

    This comprehensive study guide also features "The Story Behind the Story" which details the conditions under which All the Pretty Horses was written. This title also includes a short biography on Cormac McCarthy and a descriptive list of characters.

    

    He can identify every car in town from the sound of its engine, but his world is changing faster then he can fathom. His wife has become an artist, selling sea-glass sculptures to tourists. His daughter is bound for college, while his son has turned angry and lawless. Lucky's own heart is failing him, too. An operation has kept it ticking, but he can't run the boat alone any more. As the spring lobster season opens, the only deckhand Lucky can find to help load his traps is Ronette, the not-quite-divorced wife of the local lobster wholesaler. When the two make it out to the fishing grounds, someone else's buoys are bobbing in his ancestral waters. Before he knows it, Lucky is in a lobster war and has abandoned all the rules: family, health, finance, even the rules of the sea that have guided him throughout his life. As waves of trouble turn into a flood tide, Lucky's pride propels him into an epic confrontation with his enemies and a rogue whale -- a battle his unreliable heart may not survive. The Wooden Nickel is a classic story of a man raging against a changing world, full of pathos and comedy. It is a remarkable novel by a writer with a powerful, distinct, and original voice.

    Things I Meant to Say to You When We Were Old [Paperback]