A romance between a physics professor who lost his family to a drunk driver and an innkeeper whose husband fell victim to Alzheimer's disease. The setting is Maine and a broken radiator hose brings them together.

A founding editor of The First Post recounts his impulsive decision to take up judo when he turned fifty, an activity he came to love and admire in spite of grueling training sessions, in an account that also describes his research into judo history and his attendance at matches between famous competitors. Original.

A mother-daughter con artist duo have finally met their match. Maya is the daughter of Nicole, a cunning grifter who has been deceiving people since she was a teenager. Together, they have perfected the art of scamming people out of their money without guilt. Their most successful con sees Nicole duping affluent men into wedding her. But when the time is right, Maya lures the mark into her bed, getting them to break their prenuptial agreement. The duo then disappear with an impressive divorce settlement. Never to be heard from again. What should be another routine con soon turns out to be anything but. Kennedy, the daughter of their new mark, is skeptical of the pair upon their arrival. She suspects they are after her father’s money and she's determined to find proof of it. Matters are further complicated when Maya and Kennedy begin to develop feelings for each other. Though both have their reasons for why they shouldn’t cross the line, their growing attraction is too strong to be denied. But when the truth is revealed, both stand to lose more than they ever could have imagined.

In Falling Through the Music, his fifth major book of poetry, Mark Halperin gives us consolation, guidance, and companionship while delivering an accomplished meditation on the first real glimpses of the limits on a life. Displaying an agility of formal invention--he moves easily from a Whitmanesque and witty litany to rhymed quatrains--Halperin deftly melds technique to theme. As in "Someone Pausing, he is able to place us in the mind of someone--any one of us--who has stood on an island in the street, fully attentive and present, knowing nothing stays, not even the observer.

Running, Falling, Flying, Floating, Crawling is a loose compendium of photographs and texts that picture, examine, explore, and / or suggest the human body in states of abandon, helplessness, terror, subjugation, serenity, and transcendence. Artists include Andre Kertesz, Yves Klein, Laurie Simmons, Maya Deren, Gideon Mendel, Bas Jan Ader, Chris Burden, Tabitha Soren, Nan Goldin, Rania Matar, John Divola, Harry Callahan, Sarah Charlesworth, and Francesca Woodman. Writers include David Campany, Lynne Tillman, Jennifer Blessing, Diane Seuss, Susan Bright, Gilda Williams, Marvin Heiferman, Maud Casey, and Carol Mavor.

This volume offers a comprehensive range of approaches to the work of Mark E. Smith and his band The Fall in relation to music, art and politics. Mark E. Smith remains one of the most divisive and idiosyncratic figures in popular music after a recording career with The Fall that spans thirty years. Although The Fall were originally associated with the contemporaneous punk explosion, from the beginning they pursued a highly original vision of what was possible in the sphere of popular music. While other punk bands burned out after a few years, only to then reform decades later as their own cover bands, The Fall continue to evolve while retaining a remarkable consistency, even with the frequent line-up changes that soon left Mark E. Smith as the only permanent member of the group. The key aspect of the group that this volume explores is the invariably creative, unfailingly critical and often antagonistic relations that characterize both the internal dynamics of the group and the group's position in the pop cultural surroundings. The Fall's ambiguous position in the unfolding histories of British popular music and therefore in the new heritage industries of popular culture in the UK, from post-punk to anti-Thatcher politics, to the 'Factory fiction of Manchester' and on into Mark E. Smith's current role as ageing enfant terrible of rock, illustrates the uneasy relationship between the band, their critical commentators and the historians of popular music. This volume engages directly with this critical ambiguity. With a diverse range of approaches to The Fall, this volume opens up new possibilities for writing about contemporary music beyond traditional approaches grounded in the sociology of music, Cultural Studies and music journalism – an aim which is reflected in the variety of provocative critical approaches and writing styles that make up the volume.