Home for the holidays! The master storyteller, Mr. Paul John Hausleben, returns once more to the Christmas season with a masterful collection of classic stories. This collection consists of novellas and novelettes with each story revolving around the central theme of returning home for Christmas. They utilize Christmas and the holiday season as a setting and they perfectly capture the spirit and magic of the holidays. Christmas invokes prominent emotions, with both happiness and sadness touching our soul; however, of all the many wonderful aspects of the Christmas season, there is nothing quite as special as when a loved one returns home for Christmas. Especially so if the loved one has been away for a long amount of time. Sometimes, it is not a physical return home, but it is a return within the person’s mind. Paul John Hausleben's masterful play with our emotions often causes the plots and the emotions to run deep in these stories and encompass both the joy and the heartbreak of that most wonderful time of the year. However, in typical PJH fashion, he leaves the reader with a collection of stories that stoke your own memories of holidays of your own past and stories that remain in your mind forever. Download your eBook copy, or your paperback copy today and share in the magic of returning home to your own Christmas!

In his final work, the great and beloved Native American scholar Vine Deloria Jr. takes us into the realm of the spiritual and reveals through eyewitness accounts the immense power of medicine men. The World We Used To Live In, a fascinating collection of anecdotes from tribes across the country, explores everything from healing miracles and scared rituals to Navajos who could move the sun. In this compelling work, which draws upon a lifetime of scholarship, Deloria shows us how ancient powers fit into our modern understanding of science and the cosmos, and how future generations may draw strength from the old ways.

For the 25 years, when he was off-duty, photojournalist J.M. Giordano walked his beloved city of Baltimore at night, capturing not just one particular scene, but many. From its bars, night clubs, inaugurals, casinos, strip clubs, drag nights, hip hop battles, and the too often encountered crime scenes, this incredible work paints an intimate portrait of Baltimore culture.

This book is an experience woven into poetic rhythms and scripts that bring together characters in a diverse community--the saints and sinners, the ancestors and neighbors, the celebration of family and the joys of love along with the desolation of the voiceless. The poet articulates their feelings, believing most experience can be revisioned through creative work which affirms the universal impulse toward growth, life, and movement. There is no need to fear the unknown, for it is a companion traveler through all our journeying. It's all good

From an author “destined to become a titan of the macabre and unsettling” (Erin A. Craig, #1 New York Times bestselling author), a haunting debut—soon to be a Netflix original movie—about two homeowners whose lives are turned upside down when the house’s previous residents unexpectedly visit. As a young, queer couple who flip houses, Charlie and Eve can’t believe the killer deal they’ve just gotten on an old house in a picturesque neighborhood. As they’re working in the house one day, there’s a knock on the door. A man stands there with his family, claiming to have lived there years before and asking if it would be alright if he showed his kids around. People pleaser to a fault, Eve lets them in. As soon as the strangers enter their home, inexplicable things start happening, including the family’s youngest child going missing and a ghostly presence materializing in the basement. Even more weird, the family can’t seem to take the hint that their visit should be over. And when Charlie suddenly vanishes, Eve slowly loses her grip on reality. Something is terribly wrong with the house and with the visiting family—or is Eve just imagining things? This unputdownable and spine-tingling novel “is like quicksand: the further you delve into its pages, the more immobilized you become by a spiral of terror. We Used to Live Here will haunt you even after you have finished it” (Agustina Bazterrica, author of Tender Is the Flesh).

This story begins when I was much older, worlds away from those early years, and I had a daughter of my own. Im Miranda, and Im living a life Ive prepared myself. But that life never came. My parents worried about me. So did my teachers. Though the safe path was always right in front of me, I kept veering off it into something which did not seem unknown or perilous until it was too late to prevent the damage. My aunts and uncles referred to me as a free spirit and exchanged glances, which suggested in an adult way that they were a little worried about how I was going to turn out. Despite my mothers many attempts at reeducation, I never quite got over that impulse toward wandering and adventure that got me into so much troublenot until the events which form the basis of this story, anyway.

“Enthralling.… Seymour powerfully evokes the world from which Rhys never really escaped, one of prejudice, abuse, and abuse’s shamefaced offspring, complicity.” —James Wood, The New Yorker An intimate, profoundly moving biography of Jean Rhys, acclaimed author of Wide Sargasso Sea. Jean Rhys is one of the most compelling writers of the twentieth century. Memories of her Caribbean girlhood haunt the four short and piercingly brilliant novels that Rhys wrote during her extraordinary years as an exile in 1920s Paris and later in England, a body of fiction—above all, the extraordinary Wide Sargasso Sea—that has a passionate following today. And yet her own colorful life, including her early years on the Caribbean island of Dominica, remains too little explored, until now. In I Used to Live Here Once, Miranda Seymour sheds new light on the artist whose proud and fiercely solitary life profoundly informed her writing. Rhys experienced tragedy and extreme poverty, alcohol and drug dependency, romantic and sexual turmoil, all of which contributed to the “Rhys woman” of her oeuvre. Today, readers still intuitively relate to her unforgettable characters, vulnerable, watchful, and often alarmingly disaster-prone outsiders; women with a different way of moving through the world. And yet, while her works often contain autobiographical material, Rhys herself was never a victim. The figure who emerges for Seymour is cultured, self-mocking, unpredictable—and shockingly contemporary. Based on new research in the Caribbean, a wealth of never-before-seen papers, journals, letters, and photographs, and interviews with those who knew Rhys, I Used to Live Here Once is a luminous and penetrating portrait of a fascinatingly elusive artist.