A remarkable debut novel, reminiscent of the gimlet eye of Jim Thompson and the sense of wonder created by Kazuo Ishiguro and full of adoration for music, youth and adventure. It's the summer of 1986 and an American freshman, in love with the world's most obscure band, lives under a doctrine of blind faith with such a ferocity that it might as well be the one true religion. Enthralled by dead philosophers and mad prophets, he embarks on a group pilgrimage to Anywhere, Everywhere and Nowhere, USA.

The story of two talent agents and their three troubled boys, heirs to Hollywood royalty; a sweeping narrative about fathers and sons, the movie business, and the sundry sea changes that have shaped Hollywood and, by extension, American life. American Dream Machine is the story of an iconic striver, a classic self-made man in the vein of Jay Gatsby or Augie March. It's the story of a talent agent and his troubled sons, two generations of Hollywood royalty. It's a sweeping narrative about parents and children, the movie business, and the sundry sea changes that have shaped Hollywood, and by extension, American life. Beau Rosenwald—overweight, not particularly handsome, and improbably charismatic—arrives in Los Angeles in 1962 with nothing but an ill-fitting suit and a pair of expensive brogues. By the late 1970s he has helped found the most successful agency in Hollywood. Through the eyes of his son, we watch Beau and his partner go to war, waging a seismic battle that redraws the lines of an entire industry. We watch Beau rise and fall and rise again, in accordance with the cultural transformations that dictate the fickle world of movies. We watch Beau's partner, the enigmatic and cerebral Williams Farquarsen, struggle to contain himself, to control his impulses and consolidate his power. And we watch two generations of men fumble and thrive across the LA landscape, learning for themselves the shadows and costs exacted by success and failure. Mammalian, funny, and filled with characters both vital and profound, American Dream Machine is a piercing interrogation of the role—nourishing, as well as destructive—that illusion plays in all our lives.

A Best Book of the Year at The Atlantic Los Angeles Times Bestseller "[An] absorbing and revealing book. . . . nestling in the fruitful terrain between memoir and criticism." —Geoff Dyer, author of Out of Sheer Rage Blending memoir and cultural criticism, Matthew Specktor explores family legacy, the lives of artists, and a city that embodies both dreams and disillusionment. In 2006, Matthew Specktor moved into a crumbling Los Angeles apartment opposite the one in which F. Scott Fitzgerald spent the last moments of his life. Fitz had been Specktor’s first literary idol, someone whose own passage through Hollywood had, allegedly, broken him. Freshly divorced, professionally flailing, and reeling from his mother’s cancer diagnosis, Specktor was feeling unmoored. But rather than giving in or “cracking up,” he embarked on an obsessive journey to make sense of the mythologies of “success” and “failure” that haunt the artist’s life and the American imagination. Part memoir, part cultural history, part portrait of place, Always Crashing in the Same Car explores Hollywood through a certain kind of collapse. It’s a vibrant and intimate inspection of failure told through the lives of iconic, if under-sung, artists—Carole Eastman, Eleanor Perry, Warren Zevon, Tuesday Weld, and Hal Ashby, among others—and the author’s own family history. Through this constellation of Hollywood figures, he unearths a fascinating alternate history of the city that raised him and explores the ways in which curtailed ambition, insufficiency, and loss shape all our lives. At once deeply personal and broadly erudite, it is a story of an art form (the movies), a city (Los Angeles), and one person’s attempt to create meaning out of both. Above all, Specktor creates a moving search for optimism alongside the inevitability of failure and reveals the still-resonant power of art to help us navigate the beautiful ruins that await us all.

When two lifelong friends reunite for one more summer in small-town Maine, they must bridge the gap caused by the dreams and secrets that tore them apart… Ally Morris and Beth Abbott were beyond inseparable. From the very first time they met, the girls knew they’d found a once-in-a-lifetime friendship. But sometimes, life can’t help but get in the way. As time goes by, disappointments and petty resentments begin to alter what they once thought was forever. Ally’s boho lifestyle leaves her drowning in confusion and cheap whisky, while a terrible secret threatens to shatter Beth’s carefully controlled world. By the time they need each other most, Ally and Beth are nearly strangers to each other. When a family crisis prompts Beth to contact Ally for help out of the blue, the girls reunite in Maine. But the distance between them is overwhelming. To save their friendship, Ally and Beth will have to confront painful moments in their past and redefine who they are—before their incredible connection fades away for good…

This sweet and gentle picture book celebrates summer in Japan, as one little girl shares her love for bugs with her cousin who is visiting from America. Two young cousins who are separated by language, continent and culture meet for the first time when Jill's family travels from America to Japan to stay with Natsumi's family during the summer holidays. Natsumi's nervousness about meeting her cousin from across the sea quickly disappears when she discovers that her cousin is a lot like her: they both love summertime's hot sandy beaches, cool refreshing watermelon, festivals and fireworks. Then Jill asks Natsumi about the strange buzzing sound that comes from the nearby trees, and Natsumi is nervous once again. What if Jill is frightened of Natsumi's cherished cicadas, the insects that sing the music of summertime? This is a tender, evocative story that celebrates the special pleasures of summertime and of reunions with faraway family and friends.

From Melville to Madoff, the Confidence Man is an essential American archetype. George Roy Hill’s 1973 film The Sting treats this theme with a characteristic dexterity. The movie was warmly received in its time, winning seven Academy Awards, but there were some who thought the movie was nothing more than a slight throwback. Pauline Kael, among others, felt Hill’s film was mechanical and contrived: a callow and manipulative attempt to recapture the box-office success of Robert Redford and Paul Newman’s prior pairing, Butch Cassidy & The Sundance Kid. Matthew Specktor’s passionate, lyric meditation turns The Sting on its head, on its side, and right-side-up in an effort to unpack the film’s giddy complexity and secret, melancholic heart. Working off interviews with screenwriter David S. Ward and producer Tony Bill, and tacking from nuanced interpretation of its arching moods and themes to gimlet-eyed observation of its dizzying sleights-of-hand, Specktor opens The Sting up to disclose the subtle and stunning dimensions—sexual, political, and aesthetic—of Hill’s best film. Through Specktor’s lens, The Sting reveals itself as both an enduring human drama and a meditation on art-making itself, an ode to the necessary pleasure of being fooled at the movies.

Clackity-clack, clackity-clack. A skateboard flies over sidewalk squares. Whoosh pumf, whoosh pumf. Water balloons tossed through the air. Bizzle-bzzz, bizzle-bzzz. A bumblebee comes zipping by. Tzooooooooooo bang. Tzooooooooooo bang. Fireworks start for the Fourth of July! The sounds of summer sizzle and pop in this bouncing, swinging tribute to the best beats of every child's favorite season.