This is the third anthology in a four-volume set of dramatic monologues exploring the Mother/Daughter experience. Each volume reflects a different stage of a woman's life: "Mid-Life Catharsis" shows the complexity of arrivals and departures during one's 40s, 50s and early 60s. This anthology features the work of playwrights Ann C. Hall, Barbara H. Macchia, Chris Van Strander, Christine Emmert, Ed Friedman, Janet Torreano Pound, Jennie Webb, Kathleen Warnock, Kerri Kochanski, Kit Wainer, Linda Evans, Lisa Stephenson, Marisa Smith, Martha Patterson, Maryjane Cruise, Maureen Brady Johnson, Michele Merens, Molly Best Tinsley, Monica Bauer, Rachel Barnett, Rachel Rubin Ladutke, Robin Rice Lichtig, Sandra de Helen, Sandra Gail Teichmann-Hillesheim, Selden Smith, Sera Weber-Striplin, Shareen Knight, Shirley King and Steven Schutzman. Foreword by Jill Dolan.

This is the second anthology in a four-volume set of dramatic monologues exploring the Mother/Daughter experience. Each volume reflects a different stage of a woman's life: "Thirtysomethings" explores both career and early motherhood through characters in their 30s. The anthology features the work of playwrights Barbara Lindsay, Barbara H. Macchia, Catherine Frid, Chris Lockheardt, Constance Koepfinger, Debbie L. Feldman, Elizabeth Whitney, Hope McIntyre, Jennie Webb, Joan Lipkin, Judith Pratt, Karen Jeynes, Katelyn Gendelev, Kathleen Warnock, Kiesa Kay, Kimberly del Busto, Koorosh Angali, Lisa Stephenson, Lylanne Musselman, Meryl Cohn, Rachel Barnett, Sera Weber-Striplin, Sybil R. Williams and Vicki Cheatwood. Foreword by Erica Glyn-Jones.

WINNER OF THE PULITZER PRIZE FOR DRAMA Recently revived on Broadway in a production directed by Joe Mantello, starring two-time Oscar winner Glenda Jackson and Tony winner Laurie Metcalf Earning a Pulitzer and Best Play awards from the Evening Standard, Critics Circle, and Outer Critics Circle, among others, when it premiered, Edward Albee has, in Three Tall Women, created a masterwork of modern theater. As an imperious, acerbic old woman lies dying, she is tended by two other women and visited by a young man. Albee’s frank dialogue about everything from incontinence to infidelity portrays aging without sentimentality. His scenes are charged with wit, pain, and laughter, and his observations tell us about forgiveness, reconciliation, and our own fates. But it is his probing portrait of the three women that reveals Albee’s genius. Separate characters on stage in the first act, yet actually the same “everywoman” at different ages in the second act, these “tall women” lay bare the truths of our lives—how we live, how we love, what we settle for, and how we die. Edward Albee has given theatergoers, critics, and students of drama reason to rejoice.

Cassia has always trusted the Society to make the right choices for her: what to read, what to watch, what to believe. So when Xander's face appears on-screen at her Matching ceremony, Cassia knows with complete certainty that he is her ideal mate . . . until she sees Ky Markham's face flash for an instant before the screen fades to black. The Society tells her it's a glitch, a rare malfunction, and that she should focus on the happy life she's destined to lead with Xander. But Cassia can't stop thinking about Ky, and as they slowly fall in love, Cassia begins to doubt the Society's infallibility and is faced with an impossible choice: between Xander and Ky, between the only life she's known and a path that no one else has dared to follow. Look for CROSSED, the sequel to MATCHED, in Fall 2011! Watch a Video

An Amazon Best Book of the Month What happens when an online friend becomes a real-life nightmare? Roisin hasn't made a single friend since moving from Ireland to Massachusetts. In fact, she is falling apart under constant abuse from a school bully, Zara. Zara torments Roisin in person and on social media. She makes Roisin the laughingstock of the whole school. Roisin feels utterly alone... until she bonds with Haley online. Finally there's someone who gets her. Haley is smart, strong, and shares anti-mean-girl memes that make Roisin laugh. Together, they are able to imagine what life could look like without Zara. Haley quickly becomes Roisin's lifeline. Then Zara has a painful accident, police investigate, and Roisin panics. Could her chats with Haley look incriminating? Roisin wants Haley to delete her copies of their messages, but when she tries to meet Haley in person, she can't find her anywhere. What's going on? Her best friend would never have lied to her, right? Or is Haley not who she says she is... With twists, turns, and lightning-fast pacing, this is a middle-grade thriller about bullying, revenge, and tech that young readers won't be able to put down.

Read Julie Klausner's posts on the Penguin Blog In the tradition of Cynthia Heimel and Chelsea Handler, and with the boisterous iconoclasm of Amy Sedaris, Julie Klausner's candid and funny debut I Don't Care About Your Band sheds light on the humiliations we endure to find love--and the lessons that can be culled from the wreckage. I Don't Care About Your Band posits that lately the worst guys to date are the ones who seem sensitive. It's the jerks in nice guy clothing, not the players in Ed Hardy, who break the hearts of modern girls who grew up in the shadow of feminism, thinking they could have everything, but end up compromising constantly. The cowards, the kidults, the critics, and the contenders: these are the stars of Klausner's memoir about how hard it is to find a man--good or otherwise--when you're a cynical grown-up exiled in the dregs of Guyville. Off the popularity of her New York Times "Modern Love" piece about getting the brush-off from an indie rock musician, I Don't care About Your Band is marbled with the wry strains of Julie Klausner's precocious curmudgeonry and brimming with truths that anyone who's ever been on a date will relate to. Klausner is an expert at landing herself waist-deep in crazy, time and time again, in part because her experience as a comedy writer (Best Week Ever, TV Funhouse on SNL) and sketch comedian from NYC's Upright Citizens Brigade fuels her philosophy of how any scene should unfold, which is, "What? That sounds crazy? Okay, I'll do it." I Don't Care About Your Band charts a distinctly human journey of a strong-willed but vulnerable protagonist who loves men like it's her job, but who's done with guys who know more about love songs than love. Klausner's is a new outlook on dating in a time of pop culture obsession, and she spent her 20's doing personal field research to back up her philosophies. This is the girl's version of High Fidelity. By turns explicit, funny and moving, Klausner's debut shows the evolution of a young woman who endured myriad encounters with the wrong guys, to emerge with real- world wisdom on matters of the heart. I Don't Care About Your Band is Julie Klausner's manifesto, and every one of us can relate.

“A perfect book”—and basis for the Maggie Smith film—about a teacher who makes a lasting impression on her female students in the years before World War II (Chicago Tribune). “Give me a girl at an impressionable age, and she is mine for life!” So asserts Jean Brodie, a magnetic, dubious, and sometimes comic teacher at the conservative Marcia Blaine School for Girls in Edinburgh. Brodie selects six favorite pupils to mold—and she doesn’t stop with just their intellectual lives. She has a plan for them all, including how they will live, whom they will love, and what sacrifices they will make to uphold her ideals. When the girls reach adulthood and begin to find their own destinies, Jean Brodie’s indelible imprint is a gift to some, and a curse to others. The Prime of Miss Jean Brodie is Spark’s masterpiece, a novel that offers one of twentieth-century English literature’s most iconic and complex characters—a woman at once admirable and sinister, benevolent and conniving. This ebook features an illustrated biography of Muriel Spark including rare photos and never-before-seen documents from the author’s archive at the National Library of Scotland.