American gigolo Julian Kay speaks five or six languages, and is equally comfortable as a chauffeur for a wealthy middle-aged matron, and as a translator/companion for the lonely wife of an executive. But Julian's love-for-sale lifestyle turns deadly when a husband of a client is murdered and Julian becomes the prime suspect.

This is a true story that took place in Austin, Texas, in the eighties and early nineties. It is about an average man that ended up living the life that every male has had dreams about. The story has the romance that women spend their lives looking for. It is full of sex, romance, and broken hearts. This is about a man that became a gigolo, some of the women he met, and some surprises that happened along the way. Over the eight years of his career as a gigolo, he achieved way more than he could ever dream possible.

The unpredictable and high-mindedness lover Vincent D'amour has it all men wanted: expensive clothes, Jets, women, access to Brooklyn's Hot seat establishments, and stable rich life. His seductive and charming personality, it becomes so powerful that he decides to open a secret enterprise for men.

Own it, snowflakes: you've lost everything you claim to hold dear. White is Bret Easton Ellis's first work of nonfiction. Already the bad boy of American literature, from Less Than Zero to American Psycho, Ellis has also earned the wrath of right-thinking people everywhere with his provocations on social media, and here he escalates his admonishment of received truths as expressed by today's version of "the left." Eschewing convention, he embraces views that will make many in literary and media communities cringe, as he takes aim at the relentless anti-Trump fixation, coastal elites, corporate censorship, Hollywood, identity politics, Generation Wuss, "woke" cultural watchdogs, the obfuscation of ideals once both cherished and clear, and the fugue state of American democracy. In a young century marked by hysterical correctness and obsessive fervency on both sides of an aisle that's taken on the scale of the Grand Canyon, White is a clarion call for freedom of speech and artistic freedom. "The central tension in Ellis's art—or his life, for that matter—is that while [his] aesthetic is the cool reserve of his native California, detachment over ideology, he can't stop generating heat.... He's hard-wired to break furniture."—Karen Heller, The Washington Post "Sweating with rage . . . humming with paranoia."—Anna Leszkiewicz, The Guardian "Snowflakes on both coasts in withdrawal from Rachel Maddow's nightly Kremlinology lesson can purchase a whole book to inspire paroxysms of rage . . . a veritable thirst trap for the easily microaggressed. It's all here. Rants about Trump derangement syndrome; MSNBC; #MeToo; safe spaces."—Bari Weiss, The New York Times

The intrigue began with a triple homicide in a luxury apartment building just steps from the Champs-Elyseés, in March 1887. A high-class prostitute and two others, one of them a child, had been stabbed to death—the latest in a string of unsolved murders targeting women of the Parisian demimonde. Newspapers eagerly reported the lurid details, and when the police arrested Enrico Pranzini, a charismatic and handsome Egyptian migrant, the story became an international sensation. As the case descended into scandal and papers fanned the flames of anti-immigrant politics, the investigation became thoroughly enmeshed with the crisis-driven political climate of the French Third Republic and the rise of xenophobic right-wing movements. Aaron Freundschuh's account of the "Pranzini Affair" recreates not just the intricacies of the investigation and the raucous courtroom trial, but also the jockeying for status among rival players—reporters, police detectives, doctors, and magistrates—who all stood to gain professional advantage and prestige. Freundschuh deftly weaves together the sensational details of the case with the social and political undercurrents of the time, arguing that the racially charged portrayal of Pranzini reflects a mounting anxiety about the colonial "Other" within France's own borders. Pranzini's case provides a window into a transformational decade for the history of immigration, nationalism, and empire in France.

Discover the wonders of the universe with the Creator. Based on Louie Giglio's popular messages "Indescribable" and "How Great Is Our God," Indescribable: 100 Devotions About God and Science will help kids discover the incredible creation of our indescribable God. Indescribable displays the majesty of creation with scientific findings, photography, and original illustrations. Children who are fascinated with the world around them, nature, and the earth will deepen their faith as they explore God's Word. These 100 devotions encourage awe and appreciation for God's creativity with an in-depth look at these categories: space, galaxies, planets, and stars Earth, geology, oceans, and weather animals, from hummingbirds to dinosaurs our minds, bodies, and imaginations This book is perfect for children, ages 6–10 years old, each devotion features a "Be Amazed" section with fascinating scientific facts hands-on, easy-to-follow STEM activity closing prayer Psalm 19:1 says, "The heavens tell the glory of God. And the skies announce what his hands have made." It's impossible to out-imagine God. He orchestrates time, creates light, and speaks things into existence—from the largest stars to the smallest starfish. God is the powerful, purposeful, personal, and unparalleled Creator. Indescribable: 100 Devotions About God and Science has sold over 500,000 copies! Check out Louie Giglio's other bestselling science devotionals for kids: Indescribable for Little Ones How Great Is Our God The Wonder of Creation

In the late 1960s, the collapse of the classic Hollywood studio system led in part, and for less than a decade, to a production trend heavily influenced by the international art cinema. Reflecting a new self-consciousness in the US about the national film patrimony, this period is known as the Hollywood Renaissance. However, critical study of the period is generally associated with its so-called principal auteurs, slighting a number of established and emerging directors who were responsible for many of the era's most innovative and artistically successful releases.With contributions from leading film scholars, this book provides a revisionist account of this creative resurgence by discussing and memorializing twenty-four directors of note who have not yet been given a proper place in the larger history of the period. Including filmmakers such as Hal Ashby, John Frankenheimer, Mike Nichols, and Joan Micklin Silver, this more expansive approach to the auteurism of the late 1960s and 1970s seems not only appropriate but pressing - a necessary element of the re-evaluation of 'Hollywood' with which cinema studies has been preoccupied under the challenges posed by the emergence and flourishing of new media.