A darkly comic, wildly original novel of a family in flight from the law, set in a near-future American dystopia. In an America of the semi-distant future, human knowledge has reverted to a pre-Copernican state. Science and religion are diminished to fairy tales, and Earth once again occupies the lonely center of the universe, the stars and planets mere etchings on the glass globe that encases it. But when an ancient bunker containing a perfectly preserved space vehicle is discovered beneath the ruins of Cape Canaveral, it has the power to turn this retrograde world inside out. Enter the miscreant Van Zandt clan, whose run-ins with the law leave them with a no-win choice: test-pilot the spacecraft together as a family, or be sent separately to prison for life. Their decision leads to some freakish slapstick, one nasty bonfire, and a dissolute trek across the ass-end of an all-too-familiar America. As told to his daughter by Rowan, the Van Zandt son who flees the ashes of his family in search of a new one, the story is a darkly comic road trip that pits the simple hell of solitude against the messy consolations of togetherness. Jeffrey Rotter's The Only Words That Are Worth Remembering is an indelible vision of a future in which we might one day live.

"You get one chance with me. You blow it, that's your fault."James Tully isn't what you'd call a forgiving sort of guy. He lives by a code of ethics - honor, trust, fidelity. And if you break those values, the way Sawyer did six years ago when he accused James of cheating on him? You're out. But six years is an awful long time to go without companionship, so when he meets a cute little sub at The Black Room, he can't help himself from wanting to take their anonymous liaison one step further. "What if we're no good together once the masks come off?"It's been six years. Sawyer's never really been able to set James behind him, but considering that James makes it very clear he hasn't been able to forgive and forget any time he runs into Sawyer around town, Sawyer supposes it's past time for him to move on. And when he meets a strong, caring Dom at a masquerade party, he can't help but fall a little in love, dreaming of a new future. That is, until the masks come off...Welcome to Worthington, Texas, where the heat doesn't just rise in the summer - you'll feel it all year long in these stories of older men and their younger lovers. Every book in the Worth It series can be read on its own, but with so many familiar characters to love, why stop with just one? This book features a leather cowboy Dom, his hopeful, eager submissive, and the second chance of a lifetime.

How can people in the spotlight control their self-representations when the whole world seems to be watching? The question is familiar, but not new. Julia Fawcett examines the stages, pages, and streets of eighteenth-century London as England's first modern celebrities performed their own strange and spectacular self-representations. They include the enormous wig that actor Colley Cibber donned in his comic role as Lord Foppington--and that later reappeared on the head of Cibber's cross-dressing daughter, Charlotte Charke. They include the black page of Tristram Shandy, a memorial to the parson Yorick (and author Laurence Sterne), a page so full of ink that it cannot be read. And they include the puffs and prologues that David Garrick used to heighten his publicity while protecting his privacy; the epistolary autobiography, modeled on the sentimental novel, of Garrick's protégée George Anne Bellamy; and the elliptical poems and portraits of the poet, actress, and royal courtesan Mary Robinson, a.k.a. Perdita. Linking all of these representations is a quality that Fawcett terms "over-expression," the unique quality that allows celebrities to meet their spectators' demands for disclosure without giving themselves away. Like a spotlight so brilliant it is blinding, these exaggerated but illegible self-representations suggest a new way of understanding some of the key aspects of celebrity culture, both in the eighteenth century and today. They also challenge divides between theatrical character and novelistic character in eighteenth-century studies, or between performance studies and literary studies today. The book provides an indispensable history for scholars and students in celebrity studies, performance studies, and autobiography—and for anyone curious about the origins of the eighteenth-century self.

Quiet outsider Tillie is known around school for using her camera to find lost things, but when a boy named Jake needs help finding his dad, Tillie faces her biggest challenge yet.