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These plays by Andy Bragen examine the intimacies and shadows that exist between parents and children. In This Is My Office, a guided tour through an empty office becomes the unexpected portal to a forgotten New York and a father’s legacy. This play brings you face-to-face with a narrator who finds his way through doubt, soul-sickness, and doughnut cravings by telling you a story. Not the one he meant to tell, but a richer one about family, redemption, and love. The autobiographical Notes on My Mother’s Decline evokes the final days of a woman’s life. Late at night, while his baby daughter sleeps, a son takes notes on his mother’s daily life and scenes from their complicated relationship. He is shaping a play, as well as a perspective. Two blocks away, his mother naps, smokes, reads, and drinks coffee. She is shaping her existence within encroaching confines. Bragen plumbs silences and one-sided conversations to ask how we come to know one another as parents and as children. How do we care for those we love, and what does it take to live with—and without—them?
This "intricate" and "remarkable" debut novel traces the impact of a violent event on three different lives, each interconnected story further complicating the truth. (Laura van den Berg) Things are going well for Jane Murphy, or so it seems. She’s making it in New York, a sort of wunderkind at the social media marketing startup where she works. She’s put an experimental writer, Jeremy Miller, on the map by helping him concoct a viral internet novel, told in fragments through various fake social media accounts. But privately, Jane feels trapped, ruled by her routines and her compulsions with food and social media, caught up in an endless cycle of soothing and punishing herself. There is so much that she has to keep hidden, especially from Jeremy as their professional relationship transforms into something more. But then, tragedy strikes, and the story changes track. As the perspective shifts, so too does our image of Jane and those in her orbit as what we think we know begins to unravel. Audacious, emotionally precise and head-spinning in its ingenuity, Swallow the Ghost interrogates our public identities and private realities through the kaleidoscopic portrait of one woman's life.
As an FBI profiler, it’s Lilah Love’s job to think like a killer. And she is very good at her job. When a series of murders surface—the victims all stripped naked and shot in the head—Lilah’s instincts tell her it’s the work of an assassin, not a serial killer. But when the case takes her back to her hometown in the Hamptons and a mysterious but unmistakable connection to her own life, all her assumptions are shaken to the core. ​Thrust into a troubled past she’s tried to shut the door on, Lilah’s back in the town where her father is mayor, her brother is police chief, and she has an intimate history with the local crime lord’s son, Kane Mendez. The two share a devastating secret, and only Kane understands Lilah’s own darkest impulses. As more corpses surface, so does a series of anonymous notes to Lilah, threatening to expose her. Is the killer someone in her own circle? And is she the next target? The Lilah Love Series: Murder Notes Murder Girl Love Me Dead Love Kills Bloody Vows Bloody Love Happy Death Day
In the early 1950's, in Los Angeles, at 6 AM, John West, vice-president of the National Broadcasting Company in charge of west coast, gets a phone call from New York City on the NBC tie line. The caller is General David Sarnoff, chairman of the Board of RCA, the Radio Corporation of America, NBC's parent company. Awakened from sleep, Mr. West groggily says "Hello" "John, this is General Sarnoff." Mr. West swiftly clears the cobwebs. "Good morning, General, it's always good to hear from you." "John, you're acquainted with my nephew Richard Baer, aren't you?" "Yes, General, I am. He's a fine young man. I think very highly of him." "Last night I spoke with his mother, my sister. She's upset. The reason she's upset is that Richard has been out of work for four months and he has no prospects, so it looks like his life is going nowhere." "General, I'm surprised and sorry to hear that." "John, I want you to find Richard a job. And I want you to find him a job by nine o'clock this morning, your time. I'll be waiting for your call saying you took care of it. Goodbye."
Honey Agency: If we can't solve your problem, we're sorry. Greg Honey has bigger issues than a sketchy tagline for his one-man detective agency. To start with, his mother is pressuring him to date debutantes, his stalker keeps leaving threatening messages, his new boyfriend is at least four levels higher up on the gay boy food chain, and his best friend, Willa, has lost her panties. To top it all off, things keep pointing toward trouble at the family estate. Will Greg figure out what's going on in time to help Willa find her panties? Lord knows he wants to because Greg is more than a detective... he's also a Honey.
A revealing and heartfelt memoir of a Pulitzer Prize–winning artist finding joy and inspiration after tragedy. In his critically acclaimed Rewrites, Neil Simon talked about his beginnings—his early years of working in television, his first real love, his first play, his first brush with failure, and, most moving of all, his first great loss. Simon's same willingness to open his heart to the reader permeates The Play Goes On. This second act takes the reader from the mid-1970s to the present, a period in which Simon wrote some of his most popular and critically acclaimed plays, including the Brighton Beach trilogy and Lost in Yonkers, for which he won the Pulitzer Prize. Simon experienced enormous professional success during this time, but in his personal life he struggled to find that same sense of happiness and satisfaction. After the death of his first wife, he and his two young daughters left New York for Hollywood. There he remarried, and when that foundered he remarried again. Told with his characteristic humor and unflinching sense of irony, The Play Goes On is rich with stories of how Simon's art came to imitate his life. Simon's forty-plus plays make up a body of work that is a long-running memoir in its own right, yet here, in a deeper and more personal book than his first volume, Simon offers a revealing look at an artist in crisis but still able and willing to laugh at himself.
Memoir of the Ultimate Latchkey is a story of a kid who faces incredible hardships and uses those struggles as motivation to change his circumstances. The protagonist swiftly graduates from a naive child into a seductive life of crime and countless trysts. This story centers on his love for women and how they shape his view of the world. Along the way, he learns life lessons through the drug trade of Manhattan and he meets pivotal people during the journey that help him find himself. Christopher blurs the lines of right and wrong to create a grey hue of reality that governs his moves.
Includes the decisions of the Supreme Courts of Missouri, Arkansas, Tennessee, and Texas, and Court of Appeals of Kentucky; Aug./Dec. 1886-May/Aug. 1892, Court of Appeals of Texas; Aug. 1892/Feb. 1893-Jan./Feb. 1928, Courts of Civil and Criminal Appeals of Texas; Apr./June 1896-Aug./Nov. 1907, Court of Appeals of Indian Territory; May/June 1927-Jan./Feb. 1928, Courts of Appeals of Missouri and Commission of Appeals of Texas.
Since its publication in 1996, George Saunders’s debut collection has grown in esteem from a cherished cult classic to a masterpiece of the form, inspiring an entire generation of writers along the way. In six stories and a novella, Saunders hatches an unforgettable cast of characters, each struggling to survive in an increasingly haywire world. With a new introduction by Joshua Ferris and a new author’s note by Saunders himself, this edition is essential reading for those seeking to discover or revisit a virtuosic, disturbingly prescient voice. Praise for George Saunders and CivilWarLand in Bad Decline “It’s no exaggeration to say that short story master George Saunders helped change the trajectory of American fiction.”—The Wall Street Journal “Saunders’s satiric vision of America is dark and demented; it’s also ferocious and very funny.”—Michiko Kakutani, The New York Times “George Saunders is a writer of arresting brilliance and originality, with a sure sense of his material and apparently inexhaustible resources of voice. [CivilWarLand in Bad Decline] is scary, hilarious, and unforgettable.”—Tobias Wolff “Saunders makes the all-but-impossible look effortless.”—Jonathan Franzen “Not since Twain has America produced a satirist this funny.”—Zadie Smith “An astoundingly tuned voice—graceful, dark, authentic, and funny—telling just the kinds of stories we need to get us through these times.”—Thomas Pynchon