Four girls: dealer, junkie, recluse, thief Sarah, Jenna, Lauren, and Cassie may look like ordinary girls, but they're not. They're delinquents whose lives collide when they're sent to an experimental juvenile detention program on a farm in the middle of nowhere. As the girls face up to the crimes they committed, three of them will heal the wounds of their pasts and discover strengths they never dreamed they had. And one, driven by a deep secret of her own, will seek to destroy everything they've all worked so hard for. An Excerpt from Getting Somewhere: She thinks of herself as the surviving type. Able to make things work out the way she wants them to. Okay, so, yeah. This is a little glitch in her plans. But she's not going to stay. Absolutely no way. She'll just tell them she's not happy, that it isn't working out for her. The room where they put her is ridiculous. Tiny. No television, no phone. Geez, they even had those at detention. Well, not in the rooms, but still. Hell, if she has to, she'll just walk out. Nothing to stop her. It will be fine. It always is.

A dark, no-holds-barred, and often hilarious collection from a prize-winning poet, veering between the poles of self and world. Kim Addonizio’s sharp and irreverent eighth volume, Now We’re Getting Somewhere, is an essential companion to your practice of the Finnish art of kalsarikännit—drinking at home, alone in your underwear, with no intention of going out. Imbued with the poet’s characteristic precision and passion, the collection charts a hazardous course through heartache, climate change, dental work, Outlander, semiotics, and more. Combatting existential gloom with a wicked, seductive energy, Addonizio investigates desire, loss, and the madness of contemporary life. She calls out to Walt Whitman and John Keats, echoes Dorothy Parker, and finds sisterhood with Virginia Woolf. Sometimes confessional, sometimes philosophical, these poems weave from desolation to drollery and clamor with raucous imagery: an insect in high heels, a wolf at an uncomfortable party, a glowing and self-serious guitar. A poet whose “voice lifts from the page, alive and biting” (Sky Sanchez, San Francisco Book Review), Addonizio reminds her reader, "if you think nothing & / no one can / listen I love you joy is coming."

His compassionate witness is born out of immersion in doggedly bittersweet particulars: the cock-eyed wisdom of 1950s science fiction movies; Do Not Disturb signs; vegetarian physics; the perils of bed-and-breakfast lodging; flying saucer disciples; what to do in case of Rapture; Debbie Fuller, reluctant childhood angel; the theory and practice of Spontaneous Human Combustion. His passionate transformation of that raw data into song - no matter how fragile or raucous - provides irrefutable testimony about the consequences of being nothing less than human, where "every day someone crawls out of his ocean of sleep / and takes those first tottering steps on the planet again / he's playing with real fire." And with Clewell's insistence on the unlikely grace in that condition, along with the generosity of his unabashed inclusiveness, his poetry is a powerful antidote to the bad medicine we're too often asked to swallow.

Robert V. Camuto sets out across modern Southern Italy in search of the "South-ness" that defined his youthful experience and views the world through wine, food, and families.

Gathered, recorded, and edited by students at Balboa High School in San Francisco, this anthology of oral histories includes more than 100 stories of immigration to the United States. I Might Get Somewhere includes a foreword by best-selling author Amy Tan.

After a mysterious disaster, a young man named Eric finds that he has just as mysteriously developed extraordinary abilities. He starts out trying to help people, but his solitary position in the world isolates him in ways no ordinary human could understand.

Joseph Cotten’s story begins in Tidewater, Virginia, moves on to an episode as a Miami ‘potato salad’ tycoon and then brings us to his first big break as an actor, in the New York theatre. Cotten describes how he met the flamboyant Orson Welles- at a radio audition at which Welles set a wastepaper basket on fire- and their involvement with the Mercury theatre. This led to Cotten’s first film role, as Orson’s co-star in Citizen Kane, quickly followed by parts in The Magnificent Ambersons and The Third Man. Orson- perhaps the only man to use Churchill as a stooge while trying to set up a film deal- was a lifelong friend of Cotten’s, and this autobiography was one of the last works he read before his untimely death in 1985. Cotten takes us behind the scenes of his stage plays and films, recalling amusing and intimate stories of his adventures with Ingrid Bergman, Marilyn Monroe, Katharine Hepburn, David Niven, David O. Selznick, Alfred Hitchcock and many others. Sensitive to his own motivations, frank about his marriages and warmly revealing about himself and his friends, Cotten has written much more than the usual film star biography. His skills as an actor have made him a master of character and dramatic momentum, and he brings the same talents to his writing. Vanity Will get You Somewhere is a generous, loving and humorous portrait of a man without a shred of vanity in his nature- and of his friends and colleagues in the larger-than-life world of show business.