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In this memoir of fathers and sons, Gregory Martin struggles to reconcile the father he thought he knew with a man who has just survived a suicide attempt; a man who had been having anonymous affairs with men throughout his thirty-nine years of marriage; and who now must begin his life as a gay man. At a tipping point in our national conversation about gender and sexuality, rights and acceptance, Stories for Boys is about a father and a son finding a way to build a new relationship with one another after years of suppression and denial are given air and light. Martin’s memoir is quirky and compelling with its amateur photos and grab-bag social science and literary analyses. Gregory Martin explores the impact his father’s lifelong secrets have upon his life now as a husband and father of two young boys with humor and bracing candor. Stories for Boys is resonant with conflicting emotions and the complexities of family sympathy, and asks the questions: How well do we know the people that we think we know the best? And how much do we have to know in order to keep loving them?
INSTANT NEW YORK TIMES BESTSELLER “This extraordinary book is not only a chronicle of Ron’s and Clint’s early careers and their wild adventures, but also a primer on so many topics—how an actor prepares, how to survive as a kid working in Hollywood, and how to be the best parents in the world! The Boys will surprise every reader with its humanity.” — Tom Hanks "I have read dozens of Hollywood memoirs. But The Boys stands alone. A delightful, warm and fascinating story of a good life in show business.” — Malcolm Gladwell Happy Days, The Andy Griffith Show, Gentle Ben—these shows captivated millions of TV viewers in the ’60s and ’70s. Join award-winning filmmaker Ron Howard and audience-favorite actor Clint Howard as they frankly and fondly share their unusual family story of navigating and surviving life as sibling child actors. “What was it like to grow up on TV?” Ron Howard has been asked this question throughout his adult life. in The Boys, he and his younger brother, Clint, examine their childhoods in detail for the first time. For Ron, playing Opie on The Andy Griffith Show and Richie Cunningham on Happy Days offered fame, joy, and opportunity—but also invited stress and bullying. For Clint, a fast start on such programs as Gentle Ben and Star Trek petered out in adolescence, with some tough consequences and lessons. With the perspective of time and success—Ron as a filmmaker, producer, and Hollywood A-lister, Clint as a busy character actor—the Howard brothers delve deep into an upbringing that seemed normal to them yet was anything but. Their Midwestern parents, Rance and Jean, moved to California to pursue their own showbiz dreams. But it was their young sons who found steady employment as actors. Rance put aside his ego and ambition to become Ron and Clint’s teacher, sage, and moral compass. Jean became their loving protector—sometimes over-protector—from the snares and traps of Hollywood. By turns confessional, nostalgic, heartwarming, and harrowing, THE BOYS is a dual narrative that lifts the lid on the Howard brothers’ closely held lives. It’s the journey of a tight four-person family unit that held fast in an unforgiving business and of two brothers who survived “child-actor syndrome” to become fulfilled adults.
A journalist remembers his childhood struggles to gain acceptance from the jeans-wearing set, his envy of his admired older brother, his parent's atypical personalities, and the Fourth of July accident that ended his brother's life.
In this “exhilarating yet poignant account of one boy taking flight” (Shelf Awareness, starred review), one of rock music's most entrancing figures transforms the vividness of his musical world into an unforgettable literary account of overcoming the odds and finding his true voice. Long before hitting the stage as the lead singer of the iconic glam rock band Scissor Sisters, Jake Shears was Jason Sellards, a teenage boy living a fraught life, resulting in a difficult time in high school as his classmates bullied him and few teachers showed sympathy. It wasn’t until years later, while living and studying in New York City, that Jason would find his voice as an artist and, with a group of friends and musicians who were also thirsting for stardom and freedom, form the band Scissor Sisters. First performing in the smoky gay nightclubs of New York, then finding massive success in the United Kingdom, Scissor Sisters would become revered by the LGBTQ community, sell out venues worldwide, and win multiple accolades with hits like “Take Your Mama” and “I Don’t Feel Like Dancin’,” as well as their cult-favorite cover of Pink Floyd’s “Comfortably Numb.” “Brutally honest” (Elton John), candid, and courageous, Shears’s writing sings with the same powerful, spirited presence that he brings to his live performances. Boys Keep Swinging is “a wild, sexy, emotional ride through underground New York at the millennium. From the fringes to the top, it's a tale that speaks to the outsider in all of us” (Andy Cohen).
Hunter S. Thompson, “smart hillbilly,” boy of the South, born and bred in Louisville, Kentucky, son of an insurance salesman and a stay-at-home mom, public school-educated, jailed at seventeen on a bogus petty robbery charge, member of the U.S. Air Force (Airmen Second Class), copy boy for Time, writer for The National Observer, et cetera. From the outset he was the Wild Man of American journalism with a journalistic appetite that touched on subjects that drove his sense of justice and intrigue, from biker gangs and 1960s counterculture to presidential campaigns and psychedelic drugs. He lived larger than life and pulled it up around him in a mad effort to make it as electric, anger-ridden, and drug-fueled as possible. Now Juan Thompson tells the story of his father and of their getting to know each other during their forty-one fraught years together. He writes of the many dark times, of how far they ricocheted away from each other, and of how they found their way back before it was too late. He writes of growing up in an old farmhouse in a narrow mountain valley outside of Aspen—Woody Creek, Colorado, a ranching community with Hereford cattle and clover fields . . . of the presence of guns in the house, the boxes of ammo on the kitchen shelves behind the glass doors of the country cabinets, where others might have placed china and knickknacks . . . of climbing on the back of Hunter’s Bultaco Matador trail motorcycle as a young boy, and father and son roaring up the dirt road, trailing a cloud of dust . . . of being taken to bars in town as a small boy, Hunter holding court while Juan crawled around under the bar stools, picking up change and taking his found loot to Carl’s Pharmacy to buy Archie comic books . . . of going with his parents as a baby to a Ken Kesey/Hells Angels party with dozens of people wandering around the forest in various stages of undress, stoned on pot, tripping on LSD . . . He writes of his growing fear of his father; of the arguments between his parents reaching frightening levels; and of his finally fighting back, trying to protect his mother as the state troopers are called in to separate father and son. And of the inevitable—of mother and son driving west in their Datsun to make a new home, a new life, away from Hunter; of Juan’s first taste of what “normal” could feel like . . . We see Juan going to Concord Academy, a stranger in a strange land, coming from a school that was a log cabin in the middle of hay fields, Juan without manners or socialization . . . going on to college at Tufts; spending a crucial week with his father; Hunter asking for Juan’s opinion of his writing; and he writes of their dirt biking on a hilltop overlooking Woody Creek Valley, acting as if all the horrible things that had happened between them had never taken place, and of being there, together, side by side . . . And finally, movingly, he writes of their long, slow pull toward reconciliation . . . of Juan’s marriage and the birth of his own son; of watching Hunter love his grandson and Juan’s coming to understand how Hunter loved him; of Hunter’s growing illness, and Juan’s becoming both son and father to his father . . .
"When I was little, I could hardly do anything. But now I can do lots of things, like braid my own hair and go to nmusery school. I'm not a baby anymore. I'm me!"Jamie Lee Curtis and Laura Cornell perfectly capture a little girl's simple, childlike celebration of herself, as she looks back on her childhood from the lofty height of four and a half years. This spirited view of growing up is perfect for the youngest readers.
"Still known as "Baby", although a younger brother has come along, young Charyn makes pocket money delivering eggs, belongs to a group of twelve-year-old wannabe gangsters who meet in a soda shop run by an ex-con, and spends afternoons telling stories to the adoring wife of a wealthy Russian emigre. He becomes famous for his black-and-tans - a concoction of coffee ice cream, seltzer, milk, chocolate sauce, crushed pecans, and "a touch of bitterness that may have been the Bronx". So famous, indeed, that he walks away the winner of an annual black-and-tan contest sponsored by the real-life top gangster, called "The Little Man", Meyer Lansky."--BOOK JACKET.
This heartfelt, deeply personal memoir explores how a celebrated filmmaker and activist and his conservative Mormon mother built bridges across today’s great divides—and how our stories hold the power to heal. • Adapted as an HBO documentary now streaming on HBO Max. “A beautifully written, utterly compelling account of growing up poor and gay with a thrice married, physically disabled, deeply religious Mormon mother, and the imprint this irrepressible woman made on the character of Dustin Lance Black.” —Jon Krakauer, bestselling author of Missoula and Under the Banner of Heaven Dustin Lance Black wrote the Oscar-winning screenplay for Milk and helped overturn California’s anti–gay marriage Proposition 8, but as an LGBTQ activist he has unlikely origins—a conservative Mormon household outside San Antonio, Texas. There he was raised by a single mother who, as a survivor of childhood polio, endured brutal surgeries as well as braces and crutches for life. Despite the abuse and violence of two questionably devised Mormon marriages, she imbued Lance with her inner strength and irrepressible optimism. When Lance came out to his mother at age twenty-one, she initially derided his sexuality as a sinful choice. It may seem like theirs was a house destined to be divided—and at times it was. But in the end, they did not let their differences define them or the relationship that had inspired two remarkable lives. This heartfelt, deeply personal memoir explores how a mother and son built bridges across great cultural divides—and how our stories hold the power to heal.
'I was no longer fitting in at school. I was unsure of my friends, and they were increasingly unsure of me. I wanted to be a rock star. But while all around, voices were starting to break, acne beginning to appear, facial hair sprouting, I remained all flabby flesh and innate scruff, with a high-pitched whine and not a muscle to my name. I was the runt of the class and rarely allowed to forget it. I had no father at home to help me out, and could hardly talk to my mum. So I took solace in The Jam.' As a boy, Tony Fletcher frequently felt out of place. Yet somehow he secured a ringside seat for one of the most creative periods in British cultural history. Boy About Town tells the story of the bestselling author’s formative years in the pre- and post-punk music scenes of London, counting down, from fifty to number one: attendance at seminal gigs and encounters with musical heroes; schoolboy projects that became national success stories; the style culture of punks, mods and skinheads and the tribal violence that enveloped them; life as a latchkey kid in a single-parent household; weekends on the football terraces in a quest for street credibility; and the teenage boy’s unending obsession with losing his virginity. Boy About Town is an evocative, bittersweet, amusing and wholly original account of growing up and coming of age in the glory days of the 1970s.
The PEN/Faulkner Award–winning author recounts coming of age in 1950s Washington State with his mother and abusive stepfather in this classic memoir. This unforgettable memoir, by one of our most gifted writers, introduces us to the young Toby Wolff, by turns tough and vulnerable, crafty and bumbling, and ultimately winning. Separated by divorce from his father and brother, Toby and his mother are constantly on the move. As he fights for identity and self-respect against the unrelenting hostility of a new stepfather, his experiences are at once poignant and comical, and Wolff masterfully re-creates the frustrations, cruelties, and joys of adolescence. His various schemes—running away to Alaska, forging checks, and stealing cars—lead eventually to an act of outrageous self-invention that releases him into a new world of possibility. Praise for This Boy’s Life “Wolff writes in language that is lyrical without embellishment, defines his characters with exact strokes and perfectly pitched voices, [and] creates suspense around ordinary events, locating the deep mystery within them.” —Los Angeles Times Book Review “[This] extraordinary memoir is so beautifully written that we not only root for the kid Wolff remembers, but we also are moved by the universality of his experience.” —San Francisco Chronicle “A work of genuine literary art . . . as grim and eerie as Great Expectations, as surreal and cruel as The Painted Bird, as comic and transcendent as Huckleberry Finn.” —The Philadelphia Inquirer “Wolff’s genius is in his fine storytelling. This Boy’s Life reads and entertains as easily as a novel. Wolff’s writing and timing are superb, as are his depictions of those of us who endured the 50s.” —The Oregonian