Life is a stage on which men, women, and children live daily dramas. These dramas shape and fashion our living. The street corners, homes, the everyday places are theaters, windows into a world of goings-on. Dramas are part and parcel of our existence, as we are all actors on life's stage without direction, constantly improvising and coping. As a child, observing grown-ups from a safe distance became a hobby for young Jim Shields. The stories in this collection have their origins in these observations, detailing lives of ordinary people coping with what comes their way. In the roulette of life, there is tragedy, comedy, sadness, and joy. Within the pages of this book, these all come into play. Shields writes from a small, sparsely furnished study-a haven of peace and quiet in the midst of the bustle of family life. It is here where he puts pen to paper. From the well of imperfect memory, inspiration grows, and black ink magically forms words. This collection is life as seen through a rearview mirror.

Within this text, readers will unfold the treasure hidden within their hearts, experience the passion of the Father's heartbeat, understand God's plan for kingdom expansion, know the depth of God's love, and more as the simple but profound words move the reader deeper into the throne room and the presence of the King. (Motivation)

Until now, writings on the celebrated movements in literature and film that emerged in France in the mid-1950s - the New Novel and New Wave - have concentrated on their formal innovations, not on their engagement with history or politics. New Novel, New Wave, New Politics overturns this traditional approach. Lynn A. Higgins argues that the New Novelists (e.g., Alain Robbe-Grillet, Claude Simon, Marguerite Duras) and New Wave filmmakers (e.g., Claude Chabrol, Francois Truffaut, Jean-Luc Godard, Alain Resnais) "engage in a kind of historiography.... They enact the conflicts, the double binds of postwar history and representation." Higgins claims that what art historian Serge Guilbaut has said of American Abstract Expressionism is equally true of the New Novel and New Wavethat its aesthetic innovations "provided a way for avant-garde artists to preserve their sense of social 'commitment'... while eschewing the art of propaganda and illustration. It was in a sense a political apoliticism." Higgins shows how the New Novel and New Wave are related developments. "While their individual styles and themes remain distinctive, " she writes, "they share an ecriture that can be described as alternately, or interconnectedly, filmic and novelistic." New Wave filmmakers borrowed novelistic devices and made frequent literary allusions, while the "vision of the novelists is distinctly cinematic." A lively account that takes us to the crossroads where culture and politics meet, New Novel, New Wave, New Politics dramatically revises our view of a whole generation of important, influential artists.

A finalist for the 2017 Bram Stoker Award for Superior Achievement in a First Novel. Deftly written and utterly addictive, this Western literary horror debut will find a home with fans of authors like Joe Hill, Cormac McCarthy, and Anne Rice. One night in 1980, a man becomes a monster. Haunted by his past, Travis Stillwell spends his nights searching out women in West Texas honky-tonks. What he does with them doesn’t make him proud, just quiets the demons for a little while. But after Travis crosses paths one night with a mysterious pale-skinned girl, he wakes weak and bloodied in his cabover camper the next morning—with no sign of a girl, no memory of the night before. Annabelle Gaskin spies the camper parked behind her motel and offers the cowboy a few odd jobs to pay his board. Travis takes her up on the offer, if only to buy time, to lay low and heal. By day, he mends the old motel, insinuating himself into the lives of Annabelle and her ten-year-old son. By night, in the cave of his camper, he fights an unspeakable hunger. Before long, Annabelle and her boy come to realize that this strange cowboy is not what he seems. Half a state away, a grizzled Texas Ranger is hunting Travis for his past misdeeds, but what he finds will lead him to a revelation far more monstrous. A man of the law, he’ll have to decide how far into the darkness he’ll go for the sake of justice. When these lives converge on a dusty autumn night, an old evil will find new life—and new blood.

An essential introductory textbook that guides students through 300 years of American plays, as well as their remarkable engagement with texts from across the Atlantic. Divided into seven historical periods, Jacqueline Foertsch offers unique overviews of 38 American plays and their reception, from Robert Hunter's Androboros (c.1714) to Lin-Manuel Miranda's Hamilton (2015). Each historical section begins with an overseas play that proved influential to American playwrights in that period, demonstrating to students an astonishing dialogue taking place across the Atlantic. This is an ideal core text for modules on American Drama – or a supplementary text for broader modules on American Literature – which may be offered at the upper levels of an undergraduate literature, drama, theatre studies or American studies degree. In addition it is a crucial resource for students who may be studying American drama as part of a taught postgraduate degree in literature, drama or American studies.

For Alexis Ruccini life changed in a breath. Join her on a journey through hell as she unearths the deviant secrets that shadow her husband, Dr. Royce Ruccini. Evil masquerades itself while everyone else plays a role, each behind a different mask. A powerhouse of psychological suspense. An emotionally compelling tale of deceit, corruption, and betrayal. A story that hooks the reader from page one. Who's in bed with you?

In classic noir style, Detour features mysterious deaths, changes of identity, an unforgettable femme fatale called Vera (Ann Savage), and, in Roberts, a wretched, masochistic antihero."