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NEW YORK TIMES BESTSELLER • Recipes to match every mood, situation, and vibe from the James Beard Award–winning author of Where Cooking Begins ONE OF THE TEN BEST COOKBOOKS OF THE YEAR: San Francisco Chronicle • ONE OF THE BEST COOKBOOKS OF THE YEAR: Time Out, Glamour, Taste of Home Great food is an achievable part of every day, no matter how busy you are; the key is to have go-to recipes for every situation and for whatever you have on hand. The recipes in That Sounds So Good are split between weekday and weekend cooking. When time is short, turn to quick stovetop suppers, one-pot meals, and dinner salads. And for the weekend, lean into lazy lunches, simmered stews, and hands-off roasts. Carla’s dishes are as inviting and get-your-attention-good as ever. All the recipes—such as Fat Noodles with Pan-Roasted Mushrooms and Crushed Herb Sauce or Chicken Legs with Warm Spices—come with multiple ingredient swaps and suggestions, so you can make each one your own. That Sounds So Good shows Carla at her effortless best, and shows how you can be, too.
"Here you'll find the favorites, old and new. Don't wait for the Kentucky Derby to enjoy a Classic Mint Julep, or for Mardi Gras in New Orleans to quaff a Hurricane. Shake up a batch of Blueberry Martinis for an elegant cocktail party with a twist, or serve a sparkling bowl of Champagne Punch at your next celebration. And since, after all, tomorrow is another day, go ahead and enjoy another Scarlett O'Hara. Have some nice Devilish Eggs, or one of the other appetizer recipes you'll find here, to go with it"--Page 2 of cover.
27 short stories. 27 narrators. 1 terrifying puzzle. There’s something disquieting about a town with too many twins, a killer pie, and a man with two different color eyes. When Cain, a devilish stranger with a candle wax smile, moves into a rural southern town people are brutally murdered with alarming rapidity. It’s up to a band of curious high schoolers, a decrepit hermit, and a grieving mortician to solve the riddle and keep the town from being destroyed. That is if they can survive cannibalistic dentists, body-snatching demons, and oftentimes worst of all, each other. {Smile} is a horror novel made up of 27 short stories narrated by 27 unique voices. Each story is told in alphabetical order by title, but when combined they interweave to tell an intense and twisted tale about one man/demon/thing’s quest to become human through manipulation and murder.
El Zarape Press presents its first collection of poetry by the eclectic Daniel García Ordaz, The Poet Mariachi, "the voice of the Rio Grande Valley" (Texas), an emerging voice in Latino and Hispanic American poetry.You Know What I'm Sayin'? is a celebration of the common experience of language and culture transfiguring time and place and juxtaposing the politics of urban hip-hop America with the lyricism of rural deep South Texas, a retelling of ancient history sung by a contemporary Chicano voice.With an introduction by Fulbright Scholar Dr. Debbie Cole, a linguistic anthropologist.Mainly English; some bilingual (English/Spanish) pieces. This book is being taught at university and high school campuses across the U.S., especially by linguistics professors and those seeking diverse new voices to connect with young Hispanic, Latino, Chicano readers.The first half of the book is very American-experience based; the second half has a more Mexican American experience flavor to it. The middle of the book has a monologue and a "Play On Words" that's meant to be enjoyed read though may be acted out: it's about preconceived notions and about how we hear and perceive communication.
Weary from the journalistic treadmill of "going from one assignment to the next, like an itinerant fieldworker moving to his harvests" and healing from a divorce, Douglas Bauer decided it was time to return to his hometown. Back in Prairie City, he helped on his father's farm, scooped grains at the Co-op, and tended bar at the Cardinal. The resultant memoir is a classic picture of an adult experiencing one's childhood roots as a grown-up and testing whether one can ever truly go home again. Bauer grew up "awkward with soil and with machines" in a small town east of Des Moines, As a teenager, he left the farm for college life twenty miles away and, after graduation, took a job with Better Homes and Gardens in Des Moines, writing in the junk-mail fictional persona of "Barbara Joyce,"asking millions of people to subscribe. After a few years he moved to Chicago to work as an editor and writer for Playboy and eventually as a freelance journalist. In the summer of 1975, he returned home to attend his grandmother's funeral and by autumn he moved back to Prairie City, where he stayed for the next three seasons. Bauer's book is neither a wistful nostalgia about returning to a simpler time and place nor a patronizing look at those who never leave the town in which they were born. What emerges is an unsentimental yet loving account of life in the Midwest. Not just a portrait of Prairie City, Iowa, but of everyone's small town, everywhere.
Mark finds himself on the bottom of the societal ladder playing his part in a fragile systematical democracy run by illusion, lies, and suppression. Contributing to its sustainability, he finds himself creating, shaping, and understanding the real world he lives in. Modern Man challenges audiences to closely examine how our government and society functions. Loaded with facts and news that won't be reported by mainstream media, "Modern Man" opens the audience to take a second look at the current democracy we all have.
"The drama of negro life is developing primarily because a native American drama is in process of evolution. Thus, although it heralds the awakening of the dormant dramatic gifts of the Negro folk temperament and has meant the phenomenal rise within a decade's span of a Negro drama and a possible Negro Theatre, the significance is if anything more national than racial. For pioneering genius in the development of the native American drama, such as Eugene O'Neill, Ridgley Torrence and Paul Green, now sees and recognizes the dramatically undeveloped potentialities of Negro life and folkways as a promising province of native idioms and source materials in which a developing national drama can find distinctive new themes, characteristic and typical situations, authentic atmosphere. The growing number of successful and representative plays of this type form a valuable and significant contribution to the theatre of today and open intriguing and fascinating possibilities for the theatre of tomorrow"-- Introduction.