Named one of Kirkus Reviews Best Nonfiction Books of 2014 One of NBC News’s 10 Best Latino Books of 2014 “A West Coast version of Augusten Burroughs’s Running With Scissors...A funny, shocking, generous-hearted book” (Entertainment Weekly) about a boy, his five stepfathers, and the mother who was determined to give her son everything but the truth. When he was three years old, Brando Kelly Ulloa was abandoned by his immigrant father. His mother, Maria, dreaming of a more exciting life, saw no reason for her son to live as a Mexican American just because he was born one. With the help of Maria’s ruthless imagination and a hastily penned jailhouse correspondence, the life of “Brando Skyhorse,” the Native American son of an incarcerated political activist, was about to begin. Through a series of letters to Paul Skyhorse Johnson, a stranger in prison for armed robbery, Maria reinvents herself and her young son as American Indians in the colorful Mexican-American neighborhood of Echo Park, California, where Brando and his mother live with his acerbic grandmother and a rotating cast of surrogate fathers. It will be thirty years before Brando begins to untangle the truth, when a surprise discovery leads him to his biological father at last. From this PEN/Hemingway Award–winning novelist comes an extraordinary literary memoir capturing a mother-son story unlike any other and a boy’s single-minded search for a father, wherever he can find one.

"Alice is about to marry Mad. Alice is white. Mad is black. Alice is French; Mad, though he has studied and lived in France for years, is not. They have been friends since childhood and never been romantically involved. But now Mad is being threatened with deportation and marrying Alice strikes both friends as the best solution to their problems. On the eve of her wedding, Alice reflects on their years of friendship--from their childhood together to the first time she ever heard racial slurs being directed at her friend to the victory of Jean-Marie Le Pen in the presidential primaries in 2002"--Publishers website, viewed September 30, 2011.

"Do You Take This Man has one of the steamiest, most addictive, most satisfyingly hard-earned happily-ever-after I’ve read in ages!"—Ali Hazelwood, New York Times bestselling author of Love on the Brain A wedding officiant who doesn't believe in love and an event planner who's been burned agree to say "I do" to being enemies with benefits. Divorce attorney RJ would never describe herself as romantic. But when she ends up officiating an unplanned wedding for a newly engaged couple in a park, her life is turned upside down. The video of the ceremony goes viral, and she finds herself in the unlikely position of being a sought-after local wedding officiant. Spending her free time overseeing “I dos” isn’t her most strategic career move, but she enjoys it, except for the type A dude-bro wedding planner she’s forced to work with. Former pro-football event manager Lear is a people person, but after his longtime girlfriend betrayed him, he isn’t looking for love. He knows how to execute events and likes being in control, so working with an opinionated and inflexible officiant who can’t stand him is not high on his list. He’s never had trouble winning people over, but RJ seems immune to his charms. Surrounded by love at every turn, their physical attraction pulls them together despite their best efforts to stay an arm’s length apart. Lear refuses to get hurt again. RJ refuses to let herself be vulnerable to anyone. But when it comes to happily ever after, their clients might not be the only ones saying “I do.”

The personal story of pop star Boy George describes his experiences with Culture Club, including a relationship with drummer Jon Moss, serious heroin addiction, and return to health and reacquired success. $100,000 ad/promo. Tour.

A top crime journalist reveals precisely how the world-shattering murder of John Lennon happened—and why In Let Me Take You Down, Jack Jones penetrates the borderline world of dangerous fantasy in which Mark David Chapman stalked and killed Lennon: Mark David Chapman rose early on the morning of December 8 to make final preparations. . . . Chapman had neatly arranged and left behind a curious assortment of personal items on top of the hotel dresser. In an orderly semicircle, he had laid out his passport, an eight-track tape of the music of Todd Rundgren, his little Bible, open to The Gospel According to John (Lennon). He left a letter from a former YMCA supervisor at Fort Chaffee, Arkansas, where five years earlier, he had worked with refugees from the Vietnam War. Beside the letter were two photographs of himself surrounded by laughing Vietnamese children. At the center of the arrangement of personal effects, he had placed the small Wizard of Oz poster of Dorothy and the Cowardly Lion. “I woke up knowing, somehow, that when I left that room, that was the last time I would see the room again,” Chapman recalled. “I truly felt it in my bones. I don’t know how. I had never seen John Lennon up to that point. I only knew that he was in the Dakota. But I somehow knew that it was it, this was the day. So I laid out on the dresser at the hotel room . . . just a tableau of everything that was important in my life. So it would say, ‘Look, this is me. Probably, this is the real me. This is my past and I’m going, gone to another place.’ “I practiced what it was going to look like when police officers came into the room. It was like I was going through a door and I knew I was going to go through a door, the poet’s door, William Blake’s door, Jim Morrison’s door. . . . I was leaving what I was, going into a future of uncertainty.” Praise for Let Me Take You Down “Jack Jones has written a beautiful book, rare in its attention to the social context giving rise to stalkers and assassins of celebrities . . . celebrity worship is ambivalent—admiration shares the altar with envy. When the worshipped disappoints, a ‘nobody’ can become a ‘somebody’ by killing the pop culture idol. Let Me Take You Down is both fascinating and brilliant.”—Ladd Wheeler, Professor of Psychology, University of Rochester, Former President of the Society for Personality and Social Psychology

We all tell white lies to others and, even worse, to ourselves. We do something wrong and instead of acknowledging it, learning from it, and moving on, we lie, saying it was due to circumstances outside ourselves. Each one should test his own actions. Then he can take pride in himself, without comparing himself to somebody else, for each one should carry his own load. Gal. 6:45 NIV Genesis 3:12 NIV, The man said, The woman you put here with meshe gave me some fruit from the tree, and I ate it. As long as there has been a record of man, humans have chosen to blame someone else for their wrongdoings. For you and me, it does not have to be that way. We can change and take responsibilities for our own actions.