Lady Sally's is an internationally notorious bordello. Lady Sally, like her famous husband, time-traveling bartender Mike Callahan, doesn't insist her customers even be human, as long as they have good manners. Small wonder, then, that she and her staff encounter beings like Diana the deadly dominatrix who cannot be disobeyed; Tony Donuts, the moronic man-monster even the Mafia won't mess with; or Charles, the werewolf with a distinct difference.

Callahan's Place is the neighborhood tavern to all of time and space, where the regulars are anything but. Pull up a chair, grab a glass of your favorite, and listen to the stories spun by time travelers, cybernetic aliens, telepaths...and a bunch of regular folks on a mission to save the world, one customer at a time.

At the galaxy's most outrageously bizarre bordello, Callahan's girlfriend, Lady Sally, and her staff service a diverse clientele including priests, cabbies, KGB agents, and purebred werebeagles

Mike Callahan's wife is back and business is booming. The word in the universe is that Lady Sally really knows how to give her customers a good time. Attracting unusual characters, her establishment is a remarkable place where a jinxed private detective can change his luck and a telepath is twice the woman she seems.

The newest book in the bestselling Callahan's series is finally here. A discreet little bar named "The Place" has opened in Key West. Then the Mafia discovers this quiet little neck of the woods, and the hangout heroes have to deal with Little Tony Donuts and his scheme to establish the classic protection racket among the local taverns.

All the best lines from the Saloon at the far-out edge of space-time! Off the Wall at Callahan's is a collection of epigrams, maxims, proverbs, observations, eye-watering puns, and original song lyrics distilled from the first five volumes of the Callahan's Place series (from Callahan's Crosstime Saloon to Lady Slings the Booze). After the original Callahan's Place was destroyed, all of these gems were painstakingly deciphered from blown-up old photos of the wall behind the bar, where Callahan let his customers scrawl graffiti in place of the usual mirror. So technically, every word is "off the wall." Further ennobled by numerous interior B&W illustrations by Phil Foglio, there are even capsule bios at the end for every person (real or imaginary) quoted in the graffiti section. Welcome to Callahan's Crosstime Saloon . . .There's no place like it in this, or any other, universe.

Barbara Stanwyck (1907–1990) rose from the ranks of chorus girl to become one of Hollywood's most talented leading women—and America's highest-paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy. Dan Callahan considers both Stanwyck's life and her art, exploring her seminal collaborations with Capra in such great films as Ladies of Leisure, The Miracle Woman, and The Bitter Tea of General Yen; her Pre-Code movies Night Nurse and Baby Face; and her classic roles in Stella Dallas, Remember the Night, The Lady Eve, and Double Indemnity. After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series The Big Valley renewed her immense popularity. Callahan examines Stanwyck's career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, All I Desire and There's Always Tomorrow, and two outrageous westerns, The Furies and Forty Guns. The book positions Stanwyck where she belongs—at the very top of her profession—and offers a close, sympathetic reading of her performances in all their range and complexity.