She's beautiful, talented and loved by many but she runs from love and lives for attention. Her horrible choices to get attention bring on a ton of chaos as she becomes stalkers prey. She doesn't know which way to turn as her admirers come at her and each other gunning for the title, Number One Fan. Will Fallon go crazy and dive off the deep end or will she gain the upper hand?

    But at the moment, she's living in New York City and writing advertising jingles to pay the rent while her fiancé, Jack, pursues his singing career. So when Amanda's mother, Kim, calls one evening from New Hampshire and asks for her help with something she can't discuss over the phone, Amanda is only too happy to leave New York. Once home, Kim reveals that she's leaving Amanda's father and needs help packing. Amanda balks and ends up (gently) hitting the postman, who happens to be her first boyfriend. They spend the night together in an apple orchard, where Amanda tries to tell Billy how her life got sidetracked. It has something to do with being a young woman in a profession that only recognizes famous men. Billy acts like he might have the answer, but doesn't. Neither does Amanda's mother. Or, for that matter, her father. A Feminine Ending is a gentle, bittersweet comedy about a girl who knows what she wants but not quite how to get it. Her parents are getting divorced, her fiancée is almost famous, her first love reappears, and there's a lot of noise in her head but none of it is music. Until the end. "Ending′ is a promising beginning...the playwright has a sense of humor that brings to mind a budding Wendy Wasserstein and a liberated sense of form that evokes a junior Paula Vogel."-Los Angeles Times "Darkly comic. FEMININE ENDING has undeniable wit." -New York Post. "Appealingly outlandish humor." -The New York Times. "Courageous. The 90-minute piece swerves with nerve and naivete. Sarah Treem has a voice all her own." -Newsday.

    But what he soon discovers is that New Orleans' niggas are even grimier than the dudes he left dead in Atlanta. Lines are crossed; friends turn into bitter rivals and the only certainty in Mayhem's life is death and bloodshed until he stumbles upon Keedy, a diamond in the hood. When they meet, it's true love at first sight-hood style. But the price they must pay to be together could be death. Mayhem fears nothing. Keedy has nothing to lose. All they have is each other as death closes in on them, threatening to obliterate their epic love. Will they succumb to the laws or their enemies? Or will true love and their always handy guns be their shield?

    Their relationship is only held together by a thread. As their marriage disintegrates around them, Adam tries desperately to salvage it – while Emma does everything in her power, not only to avoid the issue, but to avoid him. But what has brought them to this point? Why is Emma traumatised by the very sight of him? And why is Adam having recurring nightmares? Jean McParland has long been living her own nightmare, battling with her son Paul whose violent outbursts have terrorised her and his younger siblings in their own home. Torn between her love for her eldest son and fears for the other children, Jean has shied away from taking decisive action . . . while their lives continued to spin out of control. Then, in just one moment, Adam, Emma and Jean’s lives became inextricably linked and were changed forever.

    In his newest play, Celebration, he continues to examine the darker places of relationships. Celebration is an acerbic portrait of a sated culture choking on its own material success. Startling, full of black humor and wicked satire, Celebration displays a vivid zest for life. Also included in this volume is Pinter's classic play The Room. Both plays are invested with the elements that make Pinter's work unique: the disturbingly familiar dialogue, subtle characterization, and abrupt mood and power shifts among characters, which can be by turns terrifying, moving, and wildly funny.

    Now, with the Karoo veld so dry, Kapok, her man, insists on pointing their donkiekarretjie to Leeu Gamka, the one place Muis never wants to see again. Miskiet is waiting for her there and is going to make her pay for what she did. Little Witpop is excited. Town means she can watch television and maybe go to school, while her brother Fansie hopes there will be more food for him and their baby sister, Sponsie. Their return unleashes the devil and has them desperately fleeing. The police can t help if you don t have papers to prove that you were born. Vividly showing the invisible people of the Great Karoo, Carol Campbell s thrilling novel brings the nomadic karretjiemense to life."

    Only two characters appear on stage; Hughie, the third and most important one, is dead. It is Hughie's innocence, gullibility, and need to believe in a far more exciting existence than he ever knew which gives some kind of purpose to the shabby lives of the two who remain. O'Neill here again writes of the defeated and the courage that comes by way of illusions reflecting still other illusions in a world that needs them all.Hughie, the only surviving manuscript from a series of eight one-act monologue plays that O'Neill planned in 1940, was completed in 1941.

    Raised by her father, a ruthless Mexican drug cartel boss, and her mother, a strong-spirited black woman with an MBA from Harvard, it's no surprise that when Alexus graduates from high school text books to kilos of cocaine and heroin, she quickly becomes one of the best to ever do it in the dope game. After her father, Juan "Papi" Costilla, is sent away to federal prison, Alexus soon finds herself in Michigan City, Indiana with her mother, Rita Mae Bishop. With $250,000 in cash and 48 kilos of pure cocaine--stuffed inside large soup cans and smuggled into the country through her family's drug tunnel-- Alexus sets out to build herself a BMF-like drug-dealing ring, utilizing the connections of her numerous lovers to maximize her bankroll. But will she survive the wrath of the Costilla cartel when a portion of it turns against her? Find out in...

     For Annie and Will, who have left their marriages to be together, the future is fraught with the complications of starting over. Both have left pieces of themselves behind: For Annie, it is the husband and friend she has known since childhood; for Will, it is the five-year-old daughter he adores. And for the Korean-born Sungae, one of Annie's English-as-a-second-language students, it is a search for the words that will help her resolve the sorrows of her tragic history. As Sungae struggles with the new language and with her memories, her story unfolds in ways that will have profound consequences not only for Sungae, but for Annie, Will, and their former spouses. A lyrical and deeply moving novel about love, loss, and language-and about confronting life's tough choices-The Language of Good-bye "weaves a wonderful story [about] letting go of the past and moving forward into the future" (Gail Tsukiyama, author of The Language of Threads).

    Being in a relationship with ladies' man, Jay'vion, Asia is ready to throw in the towel. Jay'vion is the true definition of the song 'Can't Raise a Man.' Having a hard time being faithful and committing himself to Asia, he finds himself alone and lonesome. The last woman has approached Asia for the last time, and though letting go might be the hardest thing she's ever had to endure, she knows it's something she has to do. What hurts the most is falling for another man when you already have one of your own. Tangela has always lived by the rule of loyalty, even if her man is serving a five-year sentence. When she meets irresistible, fresh out of prison Quintez, she knows to stay far away from his kind. Little does she know, whatever Quintez wants, he gets. That includes her. Will Tangela continue to be loyal to her man, or will Quintez be one temptation she will not be able to fight? This is one rollercoaster ride you don't want to miss.

    She is willing to do whatever it takes to ensure that this time they make it without fault.Tamar on the other hand is knee deep in the game, further than ever before. With a set of new demands; he is forced to recruit a new team that pushes him to prove why he is and will always be the boss.Taron and Journey are deeply in love and looking forward to becoming one. They thought they had everything a couple could ever want until another woman-Latoya, shows the both of them exactly what they’re missing.New couple Jamir and Erica will show you just how Justice is served.Will these couples overcome what’s being thrown their way or will they let it destroy everything they’ve built?Find out in this drama-filled 4th installment of Rozalyn.

    Book by McLure, James

    Play

    After years of being a victim of domestic violence, Skye is caught between their extravagant lifestyle and his controlling behavior, but knows she has to get out. In a desperate attempt, Skye flees the abusive marriage with her three children in tow, and vows never to go back. She even begins a new life with a new identity, but lives in fear, knowing that Sandino won t rest until he finds them. Brace yourself as a shattered woman is determined to rebuild her life and protect her family at all cost, even if it means death. Besides, who wouldn t fight against their most treacherous enemy; even if it is your own husband?

    . . is strikingly different. Michael's poems are interior, fragmentary, and austere, often stripped down to single-word lines; they seethe with incipient violence. Matthew's are effusive, ecstatic, and all-embracing, spilling over with pop-cultural references and exuberant carnality." —The New YorkerIdentical twins Michael and Matthew Dickman once invented their own language. Now they have invented an exhilarating book of poem-plays about the fifty states. Pointed, comic, and surreal, these one-page vignettes feature unusual staging and an eclectic cast of characters—landforms, lobsters, and historical figures including Duke Ellington, Sacajawea, Judy Garland, and Kenneth Koch, the avant-garde spirit informing this book introduced by playwright John Guare."Lucky in Kansas"Judy Garland: This is always the worst partTin Man: The coming backJudy Garland: Yes, it fucking sucks, it's depressing as shitThe Lion: Well, we're lucky to still be employed at this farmStraw Man: I wouldn't call it luckyThe Lion: We were lucky to get backStraw Man: That's not really lucky either I don't think you know what lucky meansJudy Garland: It's funny what you missTin Man: The runningJudy Garland: The flyingTin Man: The flying monkeysJudy Garland: The beautiful flying monkeys above the endless emeralds the unbelievably green worldMichael Dickman and Matthew Dickman are identical twins who were born and raised in Portland, Oregon. Michael received the 2010 James Laughlin Award for his second collection Flies (Copper Canyon Press, 2011). Matthew won the prestigious APR/Honickman Award for his debut volume, All-American Poem.