Examining the relationship between emotional intensity and difficulty in works of avant-garde art, Jennifer Doyle seeks to develop a critical language for understanding affectively charged contemporary art.

Veteran motion picture, television, and Broadway producer Julian Schlossberg grew up in New York City with an early love of entertainment. As a child, he was an avid fan of radio, film, and the new art of television, and harbored ambitions of meeting his favorite stars one day. Little did he know that in the course of his career, he would not only meet many of them, but also become their producer, representative, and friend. During his nearly 60 years in show business, Schlossberg has worked as a producer, director, distributor, exhibitor, radio and television host, and record executive. At 27 he was the youngest head film buyer of a national theater chain; after working at the ABC network, the Walter Reade Organization, and Paramount Pictures, he would start his own motion-picture company, Castle Hill Productions, which would become one of the largest independent film-distribution companies in the world with a library of over 500 films. Not willing to restrict his efforts to film and television, he has also produced award-winning plays and musicals for Broadway and off-Broadway, working closely with brilliant writers and directors like Mike Nichols, Larry Gelbart, Susan Stroman, Woody Allen, and David Mamet. Now, in his memoir Try Not to Hold It Against Me, Schlossberg shares stories from a lifetime in entertainment, from his childhood in the Bronx to his years as a producer for screen and stage. Schlossberg takes us through the trials and triumphs of work and play in every avenue of the business: negotiating with Al Pacino, Burt Reynolds, and Lillian Hellman; hosting the syndicated radio and television production Movie Talk, which introduced him to hundreds of stars; experiencing the paranormal with Shirley MacLaine and Betty Hill; running the Orson Welles estate and restoring Welles' masterly film adaptation of Othello; partying with Barbra Streisand and Liza Minelli; testifying in a lawsuit against The Beatles; and interviewing over 120 of the most influential figures of the 20th century for his series Witnesses to the 20th Century. Written with engaging humor and self-deprecation—and with a foreword by Academy Award winner Elaine May—Try Not to Hold It Against Me gives readers a behind-the-scenes pass to Cannes and Las Vegas, the lives and homes of the stars, and the rarely seen but crucial work of the producer in the midst of it all. It's a compelling read for film, television, and theater enthusiasts alike—and a one-of-a-kind autobiography by one of entertainment's true insiders.

PONGS ‘N SOEMS Pongs: Could be Songs and Soems: Could be Poems PONGS ‘N SOEMS is a 60-year collection of PONGS (could-be songs) and SOEMS (could-be poems) but all are lyrics. This work is aimed at the individual looking for material his/her next million seller. As well, this compilation will speak to songwriting/poem writing hobbyists. It endeavours to encourage journaling thoughts, ideas, notions no matter how initially insignificant they seem. Yes, perhaps the multi-million-seller song awaits you, the reader, to pen it. If not that, then one may ignite a flair for writing anything from simple lyrics to free verse poetry of the loftiest kind. Herein between the covers lie several melodies which the guitarist can play. On youtube (type in Frederick Mundle youtube) you can see and hear how some PONGS became studio recorded songs and how some SOEMS ended up being set to music. This author’s pastime netted him some incredible collaborating connections musically from Chicago, to Detroit, Windsor and Toronto, ON, Montreal, PQ, as well as from Eastern NB and Gaspe, PQ.

**One of Vogue’s Best Books of the Year ** “Incisive, funny, and tinged with melancholy, the timely novel follows two lost but clever souls desperate for connection.” —Entertainment Weekly June Bloom is twenty-nine, broke, and an aspiring comedy writer. Hugo Best is a beloved late-night TV icon and notorious womanizer who invites her to his mansion for Memorial Day weekend. This is the story of their four days together, a “zippy…magnificent…devilishly fun ride” (Vogue). When June Bloom, an assistant on the late-night comedy show, Stay Up with Hugo Best, runs into Hugo himself at an open mic following his unexpected retirement, she finds herself fielding a surprising invitation: Hugo asks June to come to his mansion in Greenwich for the long Memorial Day weekend. “No funny business,” he insists. “Incisive, funny, and tinged with melancholy, this timely novel follows two lost but clever souls desperate for connection” (Entertainment Weekly). June, in need of a job and money, but harboring the remains of a childhood crush on the charming older comedian and former role model, is confident she can handle herself. She accepts. As the weekend unfolds and the enigmatic Hugo gradually reveals appealingly vulnerable facets to his personality, their dynamic proves to be much more complicated and less predictable than June imagined. “A witty and subtle commentary on sex, power, and social politics” (Refinery 29) and “an outstanding comedic debut” (Kirkus Reviews, starred review), Stay Up with Hugo Best announces a gloriously irreverent, bold, and winning new voice in fiction.

A collection of lyrics and poetry, along with a few pieces of artwork. These pieces are a glimpse into the heart and soul of K.K. Foster. We have all dealt with love, pain, loss, and hope, amongst many other things; my writings are all of my feelings found in the shapes of letters turned to words and the creation of art.

A New York Times Editors’ Choice and Best Book of the Year at TIME, Esquire, Amazon, Kirkus, and Electric Literature Jeannie Vanasco has had the same nightmare since she was a teenager. It is always about him: one of her closest high school friends, a boy named Mark. A boy who raped her. When her nightmares worsen, Jeannie decides—after fourteen years of silence—to reach out to Mark. He agrees to talk on the record and meet in person. Jeannie details her friendship with Mark before and after the assault, asking the brave and urgent question: Is it possible for a good person to commit a terrible act? Jeannie interviews Mark, exploring how rape has impacted his life as well as her own. Unflinching and courageous, Things We Didn’t Talk About When I Was a Girl is part memoir, part true crime record, and part testament to the strength of female friendships—a recounting and reckoning that will inspire us to ask harder questions, push towards deeper understanding, and continue a necessary and long overdue conversation.

From Bernhard Schlink, the internationally best-selling author of The Reader, come seven provocative and masterfully calibrated stories. A keen dissection of the ways in which we play with truth and less-than-truth in our lives. Summer Lies brims with the delusions, the passions, the outbursts, and the sometimes irrational justifications people make within a mélange of beautifully rendered relationships. In ”After the Season,” a man falls quickly in love with a woman he meets on the beach but wrestles with his incongruous feelings of betrayal after he learns she’s rich. In “Johann Sebastian Bach on Ruegen,” a son tries to put his resentment toward his emotionally distant father behind him by proposing a trip to a Back festival but soon realizes, during his efforts to reconnect, that it wasn’t his father who was the distant one. A philandering playwright is accused to infidelity by his wife in “The Night in Baden-Baden,” but he sees her accusations as nothing more than a means to exculpate himself of his guilt as he carries on with his ways. And in “Stranger in the Night,” an obliging professor becomes an accomplice—not entirely unwittingly—to the temporary escape of a charismatic fugitive on a delayed flight from New York to Frankfurt. The truth, as once character puts it, is “passionate, beautiful sometimes, and sometimes hideous, it can make you happy and it can torture you, and it always sets you free.” Tantalizingly, so is the act of telling a lie—to others and to ourselves.