Berkley Daniels is a no one special. Sure, she's going to be a kick ass lawyer soon, but otherwise she's your average 20-something. Since she started law school, the promise of her career has sustained her, no man necessary. She has great friends, a family that adores her, and a love of Detroit Warriors hockey. Brent Jean is a professional hockey player for the Warriors. He's young, single, and living a charmed lifestyle. He has everything he could ever want and yet, something is missing. He's ready to settle down, and when he first lays eyes on Berkley, he can't help feeling she could be the one. Too bad she won't give him the time of day. When he finally gets her attention, she's less than impressed. But she doesn't say no when he asks her out. Things between them heat up quickly, but dating a hockey player isn't always smooth skating, and both of them have some serious emotional baggage. Will they be able to find a way to work through those hang ups to save their relationship, or will they lose each other forever?

"A ... debut about two young brothers and their physically and psychologically abusive father"--

INSTANT NEW YORK TIMES BESTSELLER “This extraordinary book is not only a chronicle of Ron’s and Clint’s early careers and their wild adventures, but also a primer on so many topics—how an actor prepares, how to survive as a kid working in Hollywood, and how to be the best parents in the world! The Boys will surprise every reader with its humanity.” — Tom Hanks "I have read dozens of Hollywood memoirs. But The Boys stands alone. A delightful, warm and fascinating story of a good life in show business.” — Malcolm Gladwell Happy Days, The Andy Griffith Show, Gentle Ben—these shows captivated millions of TV viewers in the ’60s and ’70s. Join award-winning filmmaker Ron Howard and audience-favorite actor Clint Howard as they frankly and fondly share their unusual family story of navigating and surviving life as sibling child actors. “What was it like to grow up on TV?” Ron Howard has been asked this question throughout his adult life. in The Boys, he and his younger brother, Clint, examine their childhoods in detail for the first time. For Ron, playing Opie on The Andy Griffith Show and Richie Cunningham on Happy Days offered fame, joy, and opportunity—but also invited stress and bullying. For Clint, a fast start on such programs as Gentle Ben and Star Trek petered out in adolescence, with some tough consequences and lessons. With the perspective of time and success—Ron as a filmmaker, producer, and Hollywood A-lister, Clint as a busy character actor—the Howard brothers delve deep into an upbringing that seemed normal to them yet was anything but. Their Midwestern parents, Rance and Jean, moved to California to pursue their own showbiz dreams. But it was their young sons who found steady employment as actors. Rance put aside his ego and ambition to become Ron and Clint’s teacher, sage, and moral compass. Jean became their loving protector—sometimes over-protector—from the snares and traps of Hollywood. By turns confessional, nostalgic, heartwarming, and harrowing, THE BOYS is a dual narrative that lifts the lid on the Howard brothers’ closely held lives. It’s the journey of a tight four-person family unit that held fast in an unforgiving business and of two brothers who survived “child-actor syndrome” to become fulfilled adults.

A spiffy guide to anything and everything a boy needs to know!How to do almost anything in one handy book.Found yourself in a sticky situation? Inside you'll learn how to escape quicksand (p. 40), build a raft (p.41), start a survival fire (p.99), or fly a helicopter (p. 11).Want to impress your friends? Now you can rip a phonebook in half (p. 35), hypnotize a chicken (p. 56), or read their minds (p. 73).Boring Saturday afternoon? Not anymore when you find out how to make a waterbomb (p. 79), a boomerang (p. 95), or a volcano (p. 88).And loads of other keen things you need to know how to do!

Relates the experiences of a group of Jews, male and female, from Poland and Hungary who survived the concentration camps as teenagers.

The task is simple: Don a disguise. Survive the labyrinth . . . Best the boys. Every year for the past fifty-four years, the residents of Pinsbury Port have received a mysterious letter inviting all eligible-aged boys to compete for an esteemed scholarship to the all-male Stemwick University. The poorer residents look to see if their names are on the list. The wealthier look to see how likely their sons are to survive. And Rhen Tellur opens it to see if she can derive which substances the ink and parchment are created from, using her father’s microscope. In the province of Caldon, where women train in wifely duties and men pursue collegiate education, sixteen-year-old Rhen Tellur wants nothing more than to become a scientist. As the poor of her seaside town fall prey to a deadly disease, she and her father work desperately to find a cure. But when her mum succumbs to it as well? Rhen decides to take the future into her own hands—through the annual all-male scholarship competition. With her cousin, Seleni, by her side, the girls don disguises and enter Mr. Holm’s labyrinth, to best the boys and claim the scholarship prize. Except not everyone is ready for a girl who doesn’t know her place. And not everyone survives the deadly maze. Welcome to the labyrinth. Praise for To Best the Boys: “Atmospheric, romantic, inspiring.” —KRISTEN CICCARELLI, internationally bestselling author of The Last Namsara "Smart, determined, and ready to take on the world: Rhen Tellur is an outstanding heroine with every reason to win a competition historically intended for boys." —Jodi Meadows, New York Times bestselling author of The Incarnate Trilogy and coauthor of My Lady Jane A “Hunger Games/Handmaid’s Tale mash-up.” —BN Teen Blog

Female-to-male crossdressing became all the rage in the variety shows of nineteenth-century America and began as the domain of mature actresses who desired to extend their careers. These women engaged in the kinds of raucous comedy acts usually reserved for men. Over time, as younger women entered the specialty, the comedy became less pointed and more centered on the celebration of male leisure and fashion. Gillian M. Rodger uses the development of male impersonation from the early nineteenth century to the early twentieth century to illuminate the history of the variety show. Exploding notions of high- and lowbrow entertainment, Rodger looks at how both performers and forms consistently expanded upward toward respectable—and richer—audiences. At the same time, she illuminates a lost theatrical world where women made fun of middle-class restrictions even as they bumped up against rules imposed in part by audiences. Onstage, the actresses' changing performance styles reflected gender construction in the working class and shifts in class affiliation by parts of the audiences. Rodger observes how restrictive standards of femininity increasingly bound male impersonators as new gender constructions allowed women greater access to public space while tolerating less independent behavior from them.