Self-reliance is what makes America tick for young Frederick Falloy, a private detective working on his first case in Chicago, 2014. It seems nothing but violence surrounds the stolen Cacaw Diamonds, which he must locate. He finds himself building a working relationship with a mentor--a veteran police officer named Phillip Grable, Homicide Division. Pushing his limits, he outsmarts his demons to find a way to win, no matter how the cards fall.

Self-reliance is what makes America tick for young Frederick Falloy, a private detective working on his first case in Chicago, 2014. It seems nothing but violence surrounds the stolen Cacaw Diamonds, which he must locate. He finds himself building a working relationship with a mentor—a veteran police officer named Phillip Grable, Homicide Division. Pushing his limits, he outsmarts his demons to find a way to win, no matter how the cards fall.

Filmmaker Mouse FitzHenry reluctantly returns to Los Angeles with her fiancâe after sixteen years in Africa, as they each pursue secret projects; he is writing a screenplay set in the city, while she is making a documentary about her bethrothal.

The Diamond as Big as the Ritz is a novella by novelist F. Scott Fitzgerald. It was first published in the June 1922 issue of The Smart Set magazine, and was included in Fitzgerald's 1922 short story collection Tales of the Jazz Age. Much of the story is set in Montana, a setting that may have been inspired by the summer that Fitzgerald spent near White Sulphur Springs, Montana in 1915. Orson Welles adapted the story into a radio play in 1945 and another version was presented three times on the program Escape between 1947 and 1949. A teleplay version was broadcast on Kraft Theatre in 1955. The story's sisters, Kismine and Jasmine, were portrayed by Lee Remick and Elizabeth Montgomery, who were unknowns of 20 and 22 at the time. Mickey Mouse No. 47 (Apr./May 1956) contains a retelling of Fitzgerald's story under the title "The Mystery of Diamond Mountain", scripted by William F. Nolan and Charles Beaumont and illustrated by Paul Murry. Jimmy Buffett recounts the story in the song "Diamond As Big As The Ritz" from his 1995 album Barometer Soup. Famous novells of the author F. S. Fitzgerald: "This Side of Paradise", "The Beautiful and Damned", "The Great Gatsby", "Tender Is the Night", "The Last Tycoon", "The Diamond as Big as the Ritz", "May Day", "The Rich Boy".

For decades the suburbs have been where art happens despite: despite the conformity, the emptiness, the sameness. Time and again, the story is one of gems formed under pressure and that resentment of the suburbs is the key ingredient for creative transcendence. But what if, contrary to that, the suburb has actually been an incubator for distinctly American art, as positively and as surely as in any other cultural hothouse? Mixing personal experience, cultural reportage, and history while rejecting clichés and pieties and these essays stretch across the country in an effort to show that this uniquely American milieu deserves another look.

These translations of The Precious Scroll of the Three Lives of Mulian and Woman Huang Recites the Diamond Sutra are late-nineteenth-century examples of baojuan (literally, "precious scrolls"), a Chinese folk genre featuring alternating verse and prose that was used by monks to illustrate religious precepts for lay listeners. They represent only two of numerous versions, composed in a variety of genres, of these legends, which were once popular all over China. While the seeds of the Mulian legend, in which a man rescues his mother from hell, can be found in Indian Buddhist texts, the story of Woman Huang, who seeks her own salvation, appears to be indigenous to China. With their graphic portrayals of the underworld; dramatization of Buddhist beliefs about death, salvation, and rebirth; and frank discussion of women's responsibility for sin, these texts provide detailed and powerful descriptions of popular religious beliefs and practices in late imperial China, especially as they relate to women.