Severely injured, he does not know if he will survive the night. Reflecting on the evening's dreadful events, wondering if he could have done anything to alter them, his thoughts begin to drift. He begins to contemplate his remarkable life, his dysfunctional family, and the unfortunate prospect that he may have to soon answer for his life to God. While vividly recalling the most amusing, distressing, bizarre, and disturbing events of his life, he soon comes to realize "the monster you know is far easier to deal with than the monster you don't!" Will he get the miracle he needs to make it through the night? If so, will he finally find peace? Author's Note: This book deals with sensitive topics, and is intended for mature audiences only.

    A short critical essay which considers the significance of the title.

    Her choice could open the door to answers she's long wondered about, or it could forever chill a heart too long without love.

    is a series of women's monologues tackling many different aspects of the complex female psyche.

    He was a tight man. Everything about him was close and quiet; his gestures were short and clean, with no wasted movement. His eyes were bright and hard, the kind of blue you might see in the sky at high noon, if you looked straight up at the sky; almost white, but still pale, pale blue. He had dark yellowish circles under his eyes that rested on his cheekbones where the skin was drawn tight, as if he might have liver trouble from too much drinking, but he was physically sound and the circles came from playing stud poker all day and all night for many years. He had been playing in the back room of Hoban’s Pool Room and Poker Parlor since Monday at 4 p.m. It had started out as fooling around and then, as happened so many times, it developed into a game. The others began to drop in and a gig was working. It was nickel-and-dime stuff as long as it was The Kid and The Shooter and Pig, but when Carey and Carmody came in, both of whom bet the Cardinals and had won nicely over the weekend double-header, the play moved, deceptively, from nickel-and-dime to a quarter and a half and then wide open. It was Wednesday now, eleven in the morning. The game, like an endlessly circling bird, moved with a slow inexorable pace toward the center pot of money that grew magically with each dealt hand; revolving hands of cards, accompanied with a musical comment of silver upon silver tossed into the center of the table as the chant was heard, so soft as to be a litany calling on ghostly assistance and deliverance. “Queens bet.” “A half.” “In.” “Kicking it a half.” “And another half.” “And a half more.” “Buck and a half to me, and a half more.” The ritual quickened. It was the fourth card. Now the whisper and flutter of paper money would wash into the middle of the table. Someone dealt. The cards sliced through the smoky airless room like silent stealing death. And with each card, face up, a chant of destiny from the dealer, for he was the sole instrument in the life of a rambling-gambling man, bringing face up for all the world to see the next wonderful secret. There is nothing more for the gambling man. It is all there, sealed in the narrow turn of the next card. “A five to the queens, a jack to the possible, a nothing to the fours, an ace to the kicker, and the Gun shoots himself a red ten. Still queens.” “Queens check.” The raiser came back with a touch, a breath, feeling his way into those checking queens like a man fumbling in the dark. He touched it and then the queens slammed down hard on him. “Twenty dollars.” It was the clap of doom. Three players dropped out and it was back to the raiser. He hesitated. He knew three fours could not beat three queens. And to make sure (though there was another card coming and another chance) there were three queens, it would cost him twenty dollars. Pig had the fours. The Kid had the queens. They looked at each other’s cards. They were past the point as rambling-gambling men where they could play each other’s faces. Pig played the cards. There was no hope in playing The Kid. And it was not worth twenty dollars to see if The Kid was bluffing. He folded. The Shooter gathered up the cards and began to shuffle. In his huge hands the cards were like summer moths around a light, fluttering, singing, tightening and then disappearing as he cut them and rippled them again. The Shooter was acknowledged as the best man with cards along the Mississippi and west to Vegas. He looked over at The Kid who was stacking his half dollars. “They say Lancey is in town,” he said softly.

    Baker practices astonishing verbal magic over and over again." - Clancy Martin, Paris Review"Strikingly intimate... Free of the stilted or formal locutions that clutter up some of the more antique-sounding translations... Ms. Baker has given the play a natural but distinctly contemporary American sound." - Charles Isherwood, New York Times"Devastatingly beautiful... People are going to be talking about this one for years." - Jacob Gallagher-Ross, Village Voice"More than a modern-dress treatment of a classic work, it's a fresh rethinking of the material from the perspective of a modern mind." - Marilyn Stasio, VarietyAnnie Baker, one of the most celebrated playwrights in the United States, lends her truthful observation and elegant command of the colloquial to Anton Chekhov's despairing masterpiece Uncle Vanya. A critical hit in its sold-out Off-Broadway premiere, Baker's telling is a refreshingly intimate and modern treatment of a Chekhovian classic.Annie Baker's plays include The Flick (The Susan Smith Blackburn Prize, Obie Award), The Aliens (Obie Award), Circle Mirror Transformation (Obie Award) and Body Awareness. Her work has been produced at more than a hundred theaters in the U.S. and in more than a dozen countries internationally. Recent honors include a Guggenheim Fellowship, Steinberg Playwright Award and New York Drama Critics Circle Award. She is a resident playwright at the Signature Theatre.

    It’s not just his looks that Anjali’s attracted to, but his gentle and understanding nature.At 42, Parth Bhardwaj is an internationally famous author, writing under a pseudonym. Always having steered clear of married women, he has a difficult time keeping away from Anjali, feeling drawn to her from the moment he sets eyes on her. Just when the two finally realise that they are meant for each other, the unthinkable happens. Anjali’s husband Jayant is found murdered in his bed, making both Parth and Anjali the prime suspects.Will Anjali ever find happiness in her lonely life?

    Now in their late 30s, the deeply devoted couple has everything-except the baby they've always wanted.When an accident leaves Elle brain dead, Matt is devastated. Though he cannot bear the thought of life without her, he knows Elle was afraid of only one thing-a slow death. And so, Matt resolves to take her off life support.But Matt changes his mind when they discover Elle's pregnant. While there are no certainties, the baby might survive if Elle remains on life support. Matt's mother, Linney, disagrees with his decision. She loves Elle, too, and insists that Elle would never want to be kept alive on machines. Linney is prepared to fight her son in court-armed with Elle's living will.Divided by the love they share, Matt and Linney will be pitted against each other, fighting for what they believe is right, and what they think Elle would have wanted resulting in a controversial legal battle that will ultimately go beyond one family . . . and one single life.

    The people, including five comic characters abandoned or greatly diminished in the later play, "Uncle Vanya," for which Chekhov borrowed his own characters and material, do not allow themselves to be daunted. This translation of The Wood Demon was produced by the Mark Taper Forum as a classics lab workshop production in 1992...

    Padma Nadir Majhi ( Bengali:,English title: Boatman of the River Padma or The Padma Boatman ) (1993) is an award-winning Indian Bengali feature film directed by Goutom Ghosh from novel,the same name Manik Banerjees Padma Nadir Majhi.Hossian Miya (Utpal Dutta),Bengali Muslim, a trader who offers to take this community to with an idealistic vision: he wants to establish a little utopia on an island (Moynadeep) in the Padma delta . and offer them a better life there. It is apparent that Hossian Miya has a flourishing business there, because he has recently purchased a huge boat because of expanding business.

    

    The book also includes some of her best fiction pieces.

    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.

    Kleinman, a logical man in a mad world, is indecisive and insecure; he doesn't want to get involved but everyone is after him to make a choice. He is even accused of being the culprit. When Kleinman confronts the maniac (who looks no different from anyone els

    or is he? And somewhere within those recordings is the truth about a murder trial and a web of lies stretching back three decades.Written by Ben H. Winters, the best-selling author of Underground Airlines, The Last Policeman, and the Audible OriginalInside Jobs, Q&A is a tantalizing puzzle and a gripping tale of obsession and revenge.Because you can never really know the truth of a conversation—even when it's all on tape.Length: 2 hrs and 8 mins