Paradise When It Sizzles. . . Boston schoolteacher Amelia Wilson has always played it safe. But after a tough breakup from her boyfriend, she's ready to have some fun and take a few risks. So when friends hook Amelia up online with Drew Anderson, she takes the plunge and visits the small Caribbean island where he lives. Soon, Drew takes Amelia on a journey of unbridled pleasure, where no rules exist and anything goes. But Amelia's about to discover that even a delicious slice of paradise can have its secrets. . . Praise for the novels of Joanne Skerrett "A powerful story with a strong and timely storyline. . .I highly recommend this one!" --Mary Monroe, author of God Don't Like Ugly on Sugar vs. Spice "An entertaining story of friendship, love, and romance." --Nina Foxx, author of Just Short of Crazy on She Who Shops Joanne Skerrett is a former newspaper journalist. She lives in Philadelphia, where she is currently working on her fourth novel.

Exploding with an unsettling exuberance, Brady Udall's stories traverse a geography of lost love, fragmented lives, and satisfying revenge. Shimmering with life, these eleven stories literally let loose--and leave readers with a raw yet romantic vision of the men and women in today's still-wild West.

As forms of drawing go, scribbling is the most basic: it is seen as playing a formative role in the drawings of both children and primates. Doodling, while still being a widespread phenomenon, is largely an adult preoccupation—a nomadic form of drawing typically produced during meetings and phone calls. But even though those who engage in it are not necessarily trained artists, automatic drawing is a more dramatic event, and the results of an absentminded or trancelike state are sometimes astonishing. Because of their amateur and spontaneous character, all three forms of drawing have been adopted by modern artists seeking to escape from the constraints of their professional skills. In Line Let Loose, David Maclagan shows that each of these marginal forms of drawing has its own history in spiritualism, surrealism, abstract expressionism, and psychedelic art. Referring to Klee, Pollock, Miro, Twombly, and LeWitt, as well as many lesser-known or anonymous artists, he traces the links between them and a pervasive notion of the spontaneous and ‘unconscious’ creation of forms in art. He suggests that the original novelty of these unconventional drawing processes has begun to wear off, and he explores their new situation in our modern digital culture.

“Funny, unpredictable, and abounding with strange beauty . . . a fierce new voice of the American West.”—Outside Exploding with an unsettling exuberance, Brady Udall’s stories traverse a geography of lost love, fragmented lives, and satisfying revenge. From the night a six-foot-three Apache Indian holding a goat steps into a moonlit Arizona backyard in "Midnight Raid" to the pivotal moment when a man, delirious from a dental extraction, gets rescued by a stranger in the title story, Udall injects his stories and characters with equal parts darkness and humor. These are sad and sweet stories, moving from the familiar to surprising destinations. But even when disaster looms, Udall's fine comic sense sustains his men and women in their sometimes extravagant efforts to connect and cope. Plunged in the moment, these stories have velocity; they spray gravel as they take off.