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“Playing House is relatable, heartwarming, and oh so sexy. I zoomed through this thoughtful and joyful story about two people finding themselves and each other.” —Jasmine Guillory, New York Times bestselling author of The Wedding Date and The Proposal Romance blossoms between two city planners posing as newlyweds in this first in a bright new series by acclaimed author Ruby Lang The last thing Oliver Huang expects to see on the historic Mount Morris home tour is longtime acquaintance Fay Liu bustling up and kissing him hello. He’s happy to playact being a couple to save her from a pushy admirer. Fay’s beautiful, successful and smart, and if he’s being honest, Oliver has always had a bit of a thing for her. Maybe more than a bit. Geeking out over architectural details is Oliver and Fay’s shared love language, and soon they’re touring pricey real estate across Upper Manhattan as the terribly faux but terribly charming couple Darling and Olly. For the first time since being laid off from the job he loved, Oliver has something to look forward to. And for the first time since her divorce, Fay’s having fun. Somewhere between the light-filled living rooms and spacious closets they’ve explored, this faux relationship just may have sparked some very real feelings. For Oliver and Fay, home truly is where their hearts are. One-click with confidence. This title is part of the Carina Press Romance Promise: all the romance you’re looking for with an HEA/HFN. It’s a promise!
A stunning debut from the newest author to join the ranks in Avon Trade Fiction, award-winning journalist Patricia Pearson Frannie MacKenzie, a 30-something New Yorker, suspects she is pregnant when a rather unexpected bout of morning sickness occurs directly upon a sweater display at The Gap. With nothing else to do but gestate, Frannie decides to deal with father- (but-not-husband-) to-be Calvin, an “experimental” musician. Frannie and Calvin embark on a very wild ride that involves tuna helper, maternity bra shopping, flying Barbies, and more than a few spoon-playing musicians. Oh, and along the way, they have a baby and fall in love.
Acclaimed author Lauren Slater ruminates on what it means to be family. Lauren Slater’s rocky childhood left her cold to the idea of ever creating a family of her own, but a husband, two dogs, two children, and three houses later, she came around to the challenges, trials, and unexpected rewards of playing house. Boldly honest, these biographical pieces reveal Slater at her wittiest and most deeply personal. She describes her journey from fiercely independent young woman to wife and mother, all while coping with mental illness. She tells of a chemical fire that rekindled the flame in her ailing relationship with her husband; she reflects on her decision to have an abortion, and then later to have children despite suffering from severe depression; she examines sex, love, mastectomies, and how nannies can be intrusive while dogs become family. Beautifully written, often humorous, and always revealing, these stories scrutinize the complex questions surrounding family life, offering up sometimes uncomfortable truths.
Art Since the ’80s, a new series from Reaktion Books, seeks to offer compelling surveys of popular themes in contemporary art. In the first book in the series, Gill Perry reveals how the house and the idea of home have inspired a range of imaginative and playful works by artists across the globe. Exploring how artists have engaged with this theme in different contexts—from mobile homes and beach houses to haunted houses and broken homes—Playing at Home shows that our relationship with houses involves complex responses in which gender, race, class, and status overlap, and that through these relationships we turn a house into a home. Perry looks at the works of numerous artists, including Tracey Emin, Rachel Whiteread, Michael Landy, Mike Kelley, and Peter Garfield, as well as the work of artists who travel across continents and see home as a shifting notion, such as Do-Ho-Suh and Song Dong. She also engages with the work of philosophers and cultural theorists from Walter Benjamin and Gaston Bachelard to Johan Huizinga and Henri Lefebvre, who inform our understanding of living and dwelling. Ultimately, she argues that irony, parody, and play are equally important in our interpretations of these works on the home. With over one hundred images, Playing at Home covers a wide range of art and media in a fascinating look at why there’s no place like home.
Eleanor is content with her boring life—mostly. She’s even fine being the quirky sister in a bevy of beauties. So imagine her surprise when one of her brother’s Sydney Smoke mates hits on her at an engagement party. Her. The weird sister, who wears vintage dresses and prefers her books to parties. Bodie is shocked the next morning to find the soft, sexy virgin who seduced him with corsets is his best friend’s little sister. If he could kick his own ass, he would. And two months later, she’s got an even bigger surprise for him. Now he needs to convince the corset-loving wallflower that he loves her uniqueness if they’ve got a chance at forever. He always did love a challenge... Each book in the Sydney Smoke Rugby series is STANDALONE: * Playing By Her Rules * Playing It Cool * Playing the Player * Playing With Forever * Playing House * Playing Dirty * Playing It Safe * Playing It Tough
"Salting is a simple concept: get hired at a non-union company, do the job you were hired to do, and, with the help of organizers on the outside, unionize your coworkers from the inside. James Walsh spent almost three years as a 'salt' in two casinos in South Florida, working as a buffet server and a bartender. Neither his employers at the casinos nor the union knew about Walsh's intentions to write about his experience. Now he reveals little-known truths about how unions fight to organize workers in the service industries, the vigorous corporate opposition [that can be] against them, and how workers are caught in the battle"--
Acclaimed author Lauren Slater ruminates on what it means to be family. Lauren Slater’s rocky childhood left her cold to the idea of ever creating a family of her own, but a husband, two dogs, two children, and three houses later, she came around to the challenges, trials, and unexpected rewards of playing house. In these autobiographical pieces, Slater presents snapshots of domestic life, populating them with the gritty details and jarring realities of sharing home, life, and body in the curious institution called “family.” She asks difficult questions and probes unsettling truths about sex, love, and parenting. In these pages, Slater introduces us to her struggles with her mother, her determination to make a home of her own, her compromises in deciding to marry (her conflicts manifesting as an affair on the eve of her wedding), her initial struggle to connect with her newborn child, and the dilemmas of mothering with a mental illness. She writes openly about her decision to abort her second pregnancy and her later decision to have a second child after all. She tells us about the searing decision to have elective double mastectomy and how her love for her husband was magically rekindled after she saw him catch fire in a chemical accident. It’s not all mastectomies and chemical fires, though. Slater digs into the everyday challenges of family living, from buying a lemon of a car and fighting back menacing weeds to gaining weight and being jealous of the nanny. Beautifully written, often humorous, and always revealing, these stories scrutinize the complex questions surrounding family life, offering up sometimes uncomfortable truths.
Examines an eclectic group of western women’s autobiographical texts—canonical and otherwise—Playing House in the American West argues for a distinct regional literary tradition characterized by strategic representations of unconventional domestic life The controlling metaphor Cathryn Halverson uses in her engrossing study is “playing house.” From Caroline Kirkland and Laura Ingalls Wilder to Willa Cather and Marilynne Robinson, from the mid-nineteenth to the late-twentieth centuries, western authors have persistently embraced wayward or eccentric housekeeping to prove a woman’s difference from western neighbors and eastern readers alike. The readings in Playing House investigate the surprising textual ends to which westerners turn the familiar terrain of the home: evaluating community; arguing for different conceptions of race and class; and perhaps most especially, resisting traditional gender roles. Western women writers, Halverson argues, render the home as a stage for autonomy, resistance, and imagination rather than as a site of sacrifice and obligation. The western women examined in Playing House in the American West are promoted and read as representatives of a region, as insiders offering views of distant and intriguing ways of life, even as they conceive of themselves as outsiders. By playing with domestic conventions, they recast the region they describe, portraying the West as a place that fosters female agency, individuality, and subjectivity.
Author Mary-Lou Weisman and her husband, Larry, didn’t want to tour a foreign country; they wanted to become part of it. They were eager to pierce the tourist veil, and get as close to the essence of the culture as they could. No more observing from the outside with their noses pressed to the glass. They yearned for someone to open the door and invite them to step right in and make themselves at home. They wanted to become so French that even Americans wouldn’t like them. In September of 2003, the Weismans arrived in Provence, France, for the first of four, monthlong stays. Playing House in Provence follows them on their sometimes wonderful, sometimes humiliating, always playful pursuit, as they learn that feeling disoriented and stupid on a daily basis can be fun. So can looking up French words they need to ask for directions—où est la pharmacie—only to realize there’s pas une chance they will understand the answer. “Funnier, smarter, and more wickedly honest than any memoir about Provence.” —Sybil Steinberg Contributing Editor, Publishers Weekly