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We are all on a roller coaster ride. We are all passengers on a runaway train. We are drivers under the influence, of something: love, hate, ambivalence, jealousy, lust, some element of emotion, unbridled passion. We are all careening toward the abyss. We are all on a crash course with isolation, desperation. We are all trapped in burning buildings. We are always just one step away from hell. Heaven & Hell reside within us. Which one, do you think, is behind door number two. These poems provide a roadmap to hell. Good luck on your journey.
New York Times bestselling author Marcia Muller is at her page-turning best in The Breakers, as she digs into a particularly disturbing corner of San Francisco's history--one that Sharon McCone may not escape alive. Sharon gets a request from her former neighbors the Curleys. Their usually dependable daughter, Chelle, hasn't answered their calls in over a week. Would Sharon check on her? Chelle, a house flipper, has been living at her latest rehab project: a Prohibition-era nightclub known as the Breakers, formerly a favored watering hole for San Francisco's elite, now converted into a run-down apartment building. There's something sinister about the quirky space, and Sharon quickly discovers why. Lurking in a secret room between two floors is a ghastly art gallery: photos and drawings of mass murderers, long ago and recent. Jack the Ripper. The Zodiac and Zebra killers. Charles Manson. What, an alarmed Sharon wonders, was Chelle doing in this chamber of horrors? And as Sharon begins to suspect that the ghoulish collage may be more than just a leftover relic of the Breakers' checkered history, her search for Chelle becomes a desperate race against the clock before a killer strikes again. "[Marcia Muller's] stories crackle like few others on the mystery landscape." -- San Francisco Examiner & Chronicle "Muller undoubtedly remains one of today's best mystery writers." -- Associated Press
The stories in this collection deal with apparitions of various sorts, five featuring ghosts produced by the troubled consciences of their protagonists, and three imagining harassments of a more tangible -- and hence more brutal -- stripe. One or two of the characters obtain some benefit from the apparitions they experience, reflecting the supposition that it is sometimes good for us to feel guilt, shame, and remorse. Included are: "Seer," "O Goat-Foot God of Arcady!," "Chacun sa goule," "The Haunted Bookshop," "Beyond Bliss," "All You Inherit," "The Will," "Danny's Inferno," "Can't Live Without You," "Community Service," and "Denial." These horror and fantasy tales have never before been collected into book form.
‘Skipper’ is the story of a small ship manned by part time reserve navy sailors on a voyage from Singapore to Brisbane, Australia. During the trip the crew, from the Captain on his first ocean voyage to the most junior sailor, is tested by inexperience, a pirate attack, a cyclone and the tragic death of one of their own. Confined to the limits of a one hundred and twenty foot steel box, the crew react in a variety of ways to their new surrounds. Several do not cope and are dismissed. Others learn from the sea and the experienced seamen to overcome doubt and fear to emerge as proud and laudable sailors with skills that will assist them in every walk of life. The sailors that complete the voyage of the Gunnedah, are better for the experience. They will acknowledge the benefits in family relationships, civilian employment and personal achievement. Above all they will return to the sea and introduce others to the lessons learned.
Whether rocketing to other worlds or galloping through time, science fiction television has often featured the best of the medium. The genre's broad appeal allows youngsters to enjoy fantastic premises and far out stories, while offering adults a sublime way to view the human experience in a dramatic perspective. From Alien Nation to World of Giants, this reference work provides comprehensive episode guides and cast and production credits for 62 science fiction series that were aired from 1959 through 1989. For each episode, a brief synopsis is given, along with the writer and director of the show and the guest cast. Using extensive research and interviews with writers, directors, actors, stuntmen and many of the show's creators, an essay about each of the shows is also provided, covering such issues as its genesis and its network and syndication histories.
Featured in the New York Times 2017 "Holiday Gift Guide for Hardcover Fans" Get an insider's oral history of the World's most iconic comedy club, featuring exclusive interviews with today's most hilarious stars recalling their time on stage (and off) at the Improv. In 1963, 30-year-old Budd Friedman—who had recently quit his job as a Boston advertising executive and returned to New York to become a theatrical producer—opened a coffee house for Broadway performers called the Improvisation. Later shortened to the Improv, its first seedy West 44th Street location initially attracted the likes of Judy Garland, Liza Minnelli, Albert Finney, and Jason Robards, as well as a couple of then-unknowns named Dustin Hoffman and Bette Midler. While it drew near-capacity crowds almost from day one, it wasn't until comedians began dropping by to try out new material that the Improv truly hit its stride. The club became the first venue to present live stand-up in a continuous format, and in the process reinvented the art form and created the template for all other comedy clubs that followed. From the microphone to the iconic brick wall, the Improv has been the launching pad for practically every major name in American comedy over the last five-plus decades. Now, in The Improv, Friedman, along with a Who's Who of his most famous alumni—including Jay Leno, Jerry Seinfeld, Jimmy Fallon, Larry David, Billy Crystal, Lily Tomlin, Judd Apatow, Al Franken, Paul Reiser, Howie Mandel, Bob Saget, Drew Carey, and many more—tell it like it was in the first-ever oral history of how this game-changing comedy club came to be. The Improv gives readers an exclusive look at what really happened onstage and off-mic at one of America's most venerable institutions.
Jazz in New Orleans provides accurate information about, and an insightful interpretation of, jazz in New Orleans from the end of World War II through 1970. Suhor, relying on his experiences as a listener, a working jazz drummer, and writer in New Orleans during this period, has done a great service to lovers of New Orleans music by filling in some gaping holes in postwar jazz history and cutting through many of the myths and misconceptions that have taken hold over the years. Skillfully combining his personal experiences and historical research, the author writes with both authority and immediacy. The text, rich in previously unpublished anecdotes and New Orleans lore, is divided into three sections, each with an overview essay followed by pertinent articles Suhor wrote for national and local journals—including Down Beat and New Orleans Magazine. Section One, "Jazz and the Establishment," focuses on cultural and institutional settings in which jazz was first battered, then nurtured. It deals with the reluctance of power brokers and the custodians of culture in New Orleans to accept jazz as art until the music proved itself elsewhere and was easily recognizable as a marketable commodity. Section Two, "Traditional and Dixieland Jazz," highlights the music and the musicians who were central to early jazz styles in New Orleans between 1947 and 1953. Section Three, "An Invisible Generation," will help dispel the stubborn myth that almost no one was playing be-bop or other modern jazz styles in New Orleans before the current generation of young artists appeared in the 1980s.
Abandoned by her mother, Olivia Greene decides to take care of herself—if only she can keep it a secret Life’s been strange for Olivia Greene ever since her mother, Luna Lee, went to the store for margarine and never came back. Afraid of being sent to live with her terrible uncle—or worse, his children—Olivia carries out elaborate schemes to convince the people of Kumquat that Luna Lee still lives at home. Absolutely no one can find out—except, of course, for Olivia’s best friend, Rosella. But Olivia’s carefully constructed life threatens to fall apart with the arrival of the incredibly hot Raymond Mooney, whose family just moved back to Kumquat under mysterious circumstances. If he can tell Olivia his secrets, can’t she tell him hers? Or would that threaten the lies Olivia has so carefully woven to protect herself?