Taking his title from the wounded cry of the once great Max Bialystock in The Producers -- “Look at me now! Look at me now! I’m wearing a cardboard belt!” -- Epstein gives us his largest and most comprehensive collection to date.Writing as a memoirist, polemicist, literary critic, and amused observer of contemporary culture, he uses to deft and devastating effect his signature gifts: wide-ranging erudition, sparkling humor, and a penetrating intelligence. In personally revealing essays about his father and about his years as a teacher, in deeply considered examinations of writers from Paul Valery to Truman Capote, and in incisive take-downs of such cultural pooh-bahs as Harold Bloom and George Steiner, this remarkable collection presents us with the best work of our country’s most singular talent, engaged with the richness and variety of life, witty in his response to the world, and always entertaining.

     And one me and my little girl needed badly. My ex-husband took everything from us, his greed knowing no bounds. So we left and hid in a little mountain town in Canada. Our future promising to be new and untainted. But I’m done with men for a long while. Love is too hard, and it demands too much. And yet, it refuses to let me slide by untouched in my new life. The strong, handsome, silent-type threatens to steal my heart. He quite possibly could. We’re both running from something, but in the end, we end up running toward each other. I wasn’t looking for love, but I’m forced to face the truth. More than anything in the world, I want to be this mountain man’s girl.

    He has to be. It's the only way to save the Lost Girls.During his seven years on a team fighting child sex trafficking, Zero's become quite good at schmoozing with pimps, getting handcuffed by cops and pretending not to care about the Lost Girls he liberates. But the dangerous sting operations are starting to take their toll on his marriage and sanity. His affinity for prescription painkillers isn't exactly helping matters.When the youngest girl the team has ever rescued gets abducted from a safe house in Cambodia, Zero decides to risk everything to find her. His only shot is to go rogue, and sink deeper into the bowels of the trafficking world than he's ever sunk.It's the biggest mission of his life. Trouble is, it's almost certain death.

    On the surface, the setup was perfect: cheap rent, a great location, and total anonymity.Beneath the surface, however, Corona Heights was something else entirely.Cursed with paper thin walls, the building kept few of its tenants' secrets. But one secret had remained safely buried for years until Fiona's strange encounter with her neighbor - a ten-year-old named Olivia - threatened to unearth it, and all of the unimaginable consequences inherent in its being.As she wages a personal crusade to regain the love and trust of her estranged son, Fiona must also confront the ever-tightening grip of an addiction that she has yet to overcome, a neighbor whose erratic behavior grows more dangerous by the hour, and a seemingly innocent little girl whose dark connection to Corona Heights threatens not only the child's life, but the life that Fiona is trying so desperately to reclaim.And it all begins with a foreboding message from the girl whose face Fiona cannot see, but whose voice is hauntingly clear."Don't ignore the knocking..."

    The Companion is illustrated with photographs from the author’s private collection and full-color reproductions of Hugo Award–winning artist Bob Eggleton’s eye-catching cover art for Lumley’s works. Contributors to The Brian Lumley Companion include some of today’s most noted experts on horror fiction, including W. Paul Ganley, founder of Weirdbook Press and two-time winner of the World Fantasy Award; Stephen Jones, coeditor of Horror: 100 Best Books and winner of multiple World Fantasy, British Fantasy, and Bram Stoker Awards; Robert M. Price, author of H. P. Lovecraft and the Cthulhu Mythos and one of the most respected analysts of Lovecraftian fiction; Robert G. Weinberg, an acknowledged specialist in weird fiction, and Stanley Wiater, host of the TV series “Dark Dreamers.”In The Brian Lumley Companion, Lumley aficionados will find an overview of Lumley’s career, from his first short fiction up to the present day; essays comparing Lumley and H. P. Lovecraft, a lengthy interview with the author that delves into the heart of Lumley’s relationship with the writers and editors who inspired him and the fans who support him, and analyses of Lumley’s short fiction and novels. An interview with Bob Eggleton gives insight into the development of his striking covers for the Necroscope series and other Lumley works. This companion also includes complete listings of the first publications of each of Lumley’s novels, short fiction, and poetry. Major attractions are the detailed concordances that focus on individual novels and series, including the three Psychomech titles, the Dreamlands and Primal Lands series, and each volume in the Necroscope series.As a special treat, The Brian Lumley Companion includes three short short stories by Brian Lumley, works that have never before appeared in book form.

    In The Shadow Of The Vampire offers a close up view of her devotees and disciples, fangs and all. Over 100 photographs from Anne Rice's Memnoch Ball in New Orleans as well as other events serve as a portrait of this growing subculture. The photographs illustrate the themes the readers relate to in their fantasies and everyday lives and the extremes to which they will go to be close to their mentor. The subjects of the photographs, the fans themselves, explain in accompanying interviews their spiritual relationships to romance, eroticism, loneliness, bloodlust or outsider status of the characters in the book. From the people who sleep in coffins to the teenage Goth-rockers to the HIV-positive man who found a deep allegorical comfort in the vampire Lestat, their responses range from the burlesque to the sublime.

    The characters include the suicidal painter, Margie, who has been teaching her evangelical neighbor, Etta, how to paint nudes; her husband, the town therapist, who suspects his work helps no one; and their college aged daughter Noel—whose roommate, Pixie, joined them at home for a winter holiday, only to fall into Trinity’s freezing river.

    The arcades, food stands, souvenir shops and tattoo parlors are boarded over for the winter but the bungalows tucked in the dunes are occupied by artists and transients looking for cheap rentals. She faces a long, cold, lonely winter but a bunch of old guys, that she calls The Geezers, begin regaling her with stories about the "old days" and about an ill-fated romance between the beautiful wife of a Boston mob boss and The Great Hercules, a sideshow strongman. She is also increasingly fascinated by an elusive roustabout who flirts with her and shows her the secret spaces in an old beachfront ballroom. As winter gets darker and deeper Layla's husband is both struggling with his writing and becoming suspicious of her behavior. What Layla doesn't know is that nothing is what it seems and her options are growing fewer every day. (Volume One of the Halcyon Beach Chronicles. Volume Two is Ghosts of a Lighthouse in Autumn.)

    History has no record of him. There is a moral in that, somewhere.""The problem with being a pain in the ass is that you never quite know who's trying to get you.""Why do people keep insisting that I join the 21st Century? I *LIVE* in the 21st Century! I just don't want to be bothered by the shitheads on the internet!""I have no mouth. And I must scream.""I think love and sex are separate and only vaguely similar."

    The teaching of poetry languishes, and that region of youthful neurological terrain capable of being ignited only by poetry is largely dark, unpopulated, and silent, like a classroom whose shades are drawn. This is more than a shame, for poetry is our common treasure-house, and we need its vitality, its respect for the subconscious, its willingness to entertain ambiguity, its plaintive truth-telling, and its imaginative exhibitions of linguistic freedom, which confront the general culture's more grotesque manipulations. We need the emotional training sessions poetry conducts us through. We need its previews of coming attractions: heartbreak, survival, failure, endurance, understanding, more heartbreak.—from "Twenty Poems That Could Save America"Twenty Poems That Could Save America presents insightful essays on the craft of poetry and a bold conversation about the role of poetry in contemporary culture. Essays on the "vertigo" effects of new poetry give way to appraisals of Robert Bly, Sharon Olds, and Dean Young. At the heart of this book is an honesty and curiosity about the ways poetry can influence America at both the private and public levels. Tony Hoagland is already one of this country's most provocative poets, and this book confirms his role as a restless and perceptive literary and cultural critic.

    What you need is some sane advice to get you through. Your body aches. Your brain feels like a mouldy wrung-out dishcloth. You can barely get anything done and, hang on, why are you even doing this anyway? Is there something wrong with you? Nope. You're just burnt out. Burnout Survival Kit offers practical advice for when things are already bad. There's no mystical magic about unleashing your inner corporate superhero, no weird productivity diagrams, and certainly no crap about working 'smarter'. Instead, this is the calm inner voice that you need, served with good sense and creativity. As well as helping you to take time to ground yourself, there are brilliant hacks for all the causes of stress and anxiety, from how to approach networking (no one likes it) to practical advice on sleeping better. And the humour helps too. This may not be a cure, but it really does offer instant relief and give you the chance to take a breath. So whether you're just starting to burn or fully scorched to a crisp, rest easy. You've got a Burnout Survival Kit.

    But how much of what they say is true?

    Now I hear since the Free State came in there is less freedom. The Church has made inroads everywhere, so that we are in fact becoming a bourgeois nation, with the Church supplying our aristocracy, and I do not see much hope for us intellectually. Once the Church is in command she will devour everything.’ -James Joyce in conversation with Arthur Power. This is the first paperback edition of Arthur Power’s unique and fascinating account of his friendship with James Joyce during the 1920s. Power, a young Irishman working as an art critic in Paris, first met Joyce in a Montparnasse dancehall, and the two men maintained a prickly friendship for several years. Power re-creates his conversations with the master, on a remarkable range of topics, literary and otherwise. We read of Joyce’s thoughts on writers past and present: Synge, Ibsen, Hardy, Turgenev, Tolstoy, Chekhov, Dostoevsky, Gide, Proust, T.S. Eliot, Tennyson and Shakespeare. Joyce also speaks of the looming might of America (‘Political influence, yes, but not cultural’); of religion (‘Do you believe in a next life?’ ‘I don’t think much of this life’); and of his own work.