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From a young girl who cherishes her grandmother's old violin to a woman diagnosed with cancer, Lie Still takes you on an intimate journey through life with all its challenges, joys, disappointments and hopes. Ultimately, we see that victory lies in the way we take on life, the way we love others, the way we love ourselves. "The Heartless Words" examines the impact of alcoholism, "Transports" looks at a woman trying to escape a hopeless marriage, "Jack Harrington's Word" reveals the far-reaching effect of using the wrong word. All of Nancy Coolidge's stories and poems deal with the daunting task of letting go—whether it's love, friendship, dreams, or death.Lie Still is a perfect reminder that a life lived will contain sorrow as well as joy, hope as well as disappointment, success as well as failure. It is our reaction to the many facets of life that determine how we live and how we die. This book is written with humor, candor, and honesty. You won't be disappointed in the journey.
"At once mordantly funny and achingly sad, L.I.E. is a soul map for modern suburbia." --Sheri Holman, author of The Dress Lodger Long Island, New York, 1987: Harlan Kessler--raised in Medford, a product of blue-collar Suffolk County, of housing developments and concrete strip malls--graduates from high school. He hangs out, he parties, he plays guitar for the Dayglow Crazies (the local rock-and-roll phenomenon), and he struggles diligently to lose his virginity. He doesn't think about the future much. The Long Island Expressway (L.I.E.) cleaves the landscape, permitting passage west, to the tonier climes of Nassau County and New York City, but to Harlan, this seems like an impossible journey, something beyond his Long Island birthright. And what's worse, evidence is accumulating that Harlan may not exist at all, that he may merely be a character in someone else's story, a fleeting thought in the mind of God. L.I.E. follows Harlan, his family, and his friends through two years of love, sex, death, betrayal, salvation, and enlightenment. In ten intimately interwoven stories, in prose that swings fluidly from gritty realism to heightened metafiction, David Hollander maps an American landscape that is at once vividly familiar and highly exotic, creating an unforgettable portrait of the passage to adult-hood and the search for identity, certain to resonate with legions of readers. By turns dark, funny, raw, and elegant, L.I.E. is the striking debut of a singular voice. The last wisps of afternoon streak and evaporate into blue-gray dusk, submersing Long Island in twilight. Harlan and Rik Giannati sit on the curb outside Rik's house, precisely 211 yards northeast of Harlan's house, the distance punctuated by no fewer than fourteen subtly distinct houses of three ilks: the square, steeple-roofed Granada; the split-level LaSalle; the two-story, three-bedroom Monte Carlo. This last model was the choice of Kessler and Giannati alike some ten years ago when they, too, were assimilated in the mass exodus from Queens to Suffolk County that had gripped the hearts and genitals of so many. The streetlamps began to glow along Rustic Avenue, a cold blue flicker spaced at even intervals, like isolated members of the same species, each shivering in its cage of frosted glass. --From L.I.E.
Lying appears to be ubiquitous, what Franz Kafka called "a universal principle”; yet, despite a number of recent books on the subject, it has been given comparatively little genuinely systematic attention by philosophers, social scientists, or even literary theorists. In The Habit of Lying John Vignaux Smyth examines three forms of falsification—lying, concealment, and fiction—and makes a strong critique of traditional approaches to each of them, and, above all, to the relations among them. With recourse to Rene Girard, Paul de Man, Theodor Adorno, Leo Strauss, and other theoreticians not usually considered together, Smyth arrives at some surprising conclusions about the connections between lying, mimesis, sacrifice, sadomasochism, and the sacred, among other central subjects. Arguing that the relation between lying and truthtelling has been characterized in the West by sharply sacrificial features, he begins with a critique of the philosophies of lying espoused by Kant and Sissela Bok, then concludes that the problem of truth and lies leads to the further problem of the relation between law and arbitrariness as well as to the relation between rationality and unanimity. Constructively criticizing the work of such philosophers as Bertrand Russell, Ludwig Wittgenstein, Richard Rorty, and Nelson Goodman, Smyth shows how these problems occur comparably in fiction theory and how Paul de Man’s definition of fiction as arbitrariness finds confirmation in analytic philosophy. Through the novels of Defoe, Stendhal, and Beckett—with topics ranging from Defoe’s treatment of lies, fiction, and obscenity to Beckett’s treatment of the anus and the sacred—Smyth demonstrates how these texts generalize the issues of mendacity, concealment, and sacrificial arbitrariness in Girard’s sense to almost every aspect of experience, fiction theory, and cultural life. The final section of the book, taking its cue from Shakespeare, elaborates a sacrificial view of the history of fashion and dress concealment.
From one of the most celebrated and beloved comedians and actors of our time, George Lopez, comes this hilarious, touching, and often wacky chronicle of life after fifty. George Lopez just hit the half-century mark and the reset button on his life. Newly single and ready to embrace life, George was excited to turn fifty. It would be a welcome new phase in his life, a chance to say goodbye to a decade that included a kidney transplant and a divorce. But when he looked around a room full of his childhood friends, all gathered to celebrate his birthday, many now bald or overweight, it suddenly hit him that he was old. What happened? And more importantly, what was he going to do about it? George learns the hard way that when you turn 50, everything changes. You pull a muscle in your sleep. You avoid mirrors at all costs, and always, always wear a robe. You have to schedule an appointment to have sex. You have to dye your hair and buy a bathtub with a door. As George learns to embrace life after fifty, he invites readers into his world, sharing the ups and downs of getting older—from his relationship with a much younger woman to a bizarre session with a pet psychic, to a trip behind-the-scenes at his tumultuous two years at Lopez Tonight, to an intimate look at his sacred ground, the golf course—and, for the first time, he reveals in moving detail, the story of the battle for his life against kidney disease. I’m Not Gonna Lie will make you laugh at yourself, cry about yourself, and look at turning fifty in a way you never would’ve imagined—through the eyes of George Lopez.
Secrets and Lies - Suicide or Murder?Most of the people I encounter are hiding a secret and many of them are adept at telling lies. However, how do you learn the truth about someone who's no longer with us?Author, Barclay Quinton wrote Fabringjay, the story of a man leading a secret life during the Second World War, which was well received by the critics, but was ignored by readers, and Illicit Lust, a book he hated and wrote purely to satisfy his agent and publisher. Illicit Lust became a bestseller, a fact that annoyed Barclay. However, its success did open doors and he set about researching his next novel, the story of an ageing mobster. Barclay's research brought him into contact with many unsavoury types, including villains, shady private eyes and managers of strip clubs. The official report into Barclay's death stated that he committed suicide. However, a close friend insisted that Barclay was murdered and I was hired to investigate.Meanwhile, closer to home, I discovered a secret, and the truth, about my long-term partner. Was he the man of my dreams or was our relationship about to end?Secrets and Lies - a story of love, of deceit, of the many faces we all possess - the public face, the private face and the deeply personal.