For Charlie Plato, managing a country-western nightclub presents one adventure after another, especially when former TV heartthrob Zack Hunter runs for political office. When Zack's opponent turns up dead--in Zack's car trunk--Charlie does some sleuthing and finds a picture that's far from pretty.
Brent has a plan. And it had better work... ...his life depends on it. Brent has made plenty of enemies in his time, but none so deadly as Surrana, an assassin from the planet Gloabon. Now, he must face his fearsome adversary. He’ll need wit, cunning, and high-level strategic problem-solving to survive. In other words, he's screwed. Brent has all the tactical subtlety of a casually lobbed Molotov cocktail. Alone, he doesn't stand a chance. But he has one thing going for him: his team. Will Rawlgeeb, Vince, and the others come through? Working together, will they live to fight another day? Or will Brent's efforts result in a terrible interplanetary war? Find out when you read Dead Men Don't Disco. You'll be glad you picked up this sci-fi comedy, because everyone loves a good laugh. So get this book today. Recommended Reading Order. Dial G for Gravity Dead Men Don’t Disco The Surrana Identity Double Infinity.
Dorais and Lajeunesse analyse the adverse ways being stigmatized as homosexual affects personality and behaviour, discerning four types of reaction: the 'perfect boy,' whose perfectionism and asexuality are an attempt to minimize the difference between how he is perceived and what he is supposed to be; the 'chameleon,' who attempts to keep everyone from suspecting his secret but constantly feels like an impostor; the 'token fag,' who serves as a scapegoat to his peers, especially at school, and suffers a consequent rejection and lack of self-esteem; and the 'rebel,' who actively rejects any stigma based on his sexual orientation and non-conformity. They show that those who are heterosexual but suspected of being homosexual are most at risk of suicide and make recommendations for suicide prevention.
Mechele is young, attractive, and looking to cash in on her aesthetic assets when she moves from New Orleans to Alaska in 1994 to earn money for college tuition. Her charms ensnare the affections of three men, and the combined effects of jealously, lust, and greed take a deadly turn in this true crime story. Before a murder in the woods shatters her contented life, Mechele works as an exotic dancer at the Alaska Bush Company, where she spends her days pleasing a procession of hard-working men. John, Scott, and Kent are simultaneously smitten with Mechele, and offer affection in the form of lavish gifts and ultimately engagement rings. While the three men begin their affairs on the same path, violent murder blasts apart their parallel lives. One of the trio is shot in the back; another is accused of the murder. Dead Man's Dancer follows this murder case from 1996 throughout Mechele's tumultuous trial in 2006 that becomes a nationwide sensation. Shocking in its detailed portrayal of murder and convoluted love affairs, Dead Man's Dancer excites horror in readers that lingers far after the last page is turned.
“Spectacular . . . [Norman Mailer] makes every word count, like a master knife thrower zinging stilettos in a circle around your head.”—People Norman Mailer peers into the recesses and buried virtues of the modern American male in a brilliant crime novel that transcends genre. When Tim Madden, an unsuccessful writer living on Cape Cod, awakes with a gruesome hangover, a painful tattoo on his upper arm, and a severed female head in his marijuana stash, he has almost no memory of the night before. As he reconstructs the missing hours, Madden runs afoul of retired prizefighters, sex addicts, mediums, former cons, a world-weary ex-girlfriend, and his own father, old now but still a Herculean figure. Stunningly conceived and vividly composed, Tough Guys Don’t Dance represents Mailer at the peak of his powers. Praise for Tough Guys Don’t Dance “As brash, brooding and ultimately mesmerizing as the author himself . . . [Mailer strikes a] dazzling balance between humor and horror.”—New York Daily News “A first-rate page-turner of a murder mystery . . . full of great characters, littered with dead bodies and replete with plausible suspects.”—Chicago Tribune “[Tough Guys Don’t Dance] has that charming Mailer bravado.”—The New York Times
“Spectacular . . . [Norman Mailer] makes every word count, like a master knife thrower zinging stilettos in a circle around your head.”—People Norman Mailer peers into the recesses and buried virtues of the modern American male in a brilliant crime novel that transcends genre. When Tim Madden, an unsuccessful writer living on Cape Cod, awakes with a gruesome hangover, a painful tattoo on his upper arm, and a severed female head in his marijuana stash, he has almost no memory of the night before. As he reconstructs the missing hours, Madden runs afoul of retired prizefighters, sex addicts, mediums, former cons, a world-weary ex-girlfriend, and his own father, old now but still a Herculean figure. Stunningly conceived and vividly composed, Tough Guys Don’t Dance represents Mailer at the peak of his powers. Praise for Tough Guys Don’t Dance “As brash, brooding and ultimately mesmerizing as the author himself . . . [Mailer strikes a] dazzling balance between humor and horror.”—New York Daily News “A first-rate page-turner of a murder mystery . . . full of great characters, littered with dead bodies and replete with plausible suspects.”—Chicago Tribune “[Tough Guys Don’t Dance] has that charming Mailer bravado.”—The New York Times
Challenging conventional understandings of time and memory, Christopher T. Nelson examines how contemporary Okinawans have contested, appropriated, and transformed the burdens and possibilities of the past. Nelson explores the work of a circle of Okinawan storytellers, ethnographers, musicians, and dancers deeply engaged with the legacies of a brutal Japanese colonial era, the almost unimaginable devastation of the Pacific War, and a long American military occupation that still casts its shadow over the islands. The ethnographic research that Nelson conducted in Okinawa in the late 1990s—and his broader effort to understand Okinawans’ critical and creative struggles—was inspired by his first visit to the islands in 1985 as a lieutenant in the U.S. Marine Corps. Nelson analyzes the practices of specific performers, showing how memories are recalled, bodies remade, and actions rethought as Okinawans work through fragments of the past in order to reconstruct the fabric of everyday life. Artists such as the popular Okinawan actor and storyteller Fujiki Hayato weave together genres including Japanese stand-up comedy, Okinawan celebratory rituals, and ethnographic studies of war memory, encouraging their audiences to imagine other ways to live in the modern world. Nelson looks at the efforts of performers and activists to wrest the Okinawan past from romantic representations of idyllic rural life in the Japanese media and reactionary appropriations of traditional values by conservative politicians. In his consideration of eisā, the traditional dance for the dead, Nelson finds a practice that reaches beyond the expected boundaries of mourning and commemoration, as the living and the dead come together to create a moment in which a new world might be built from the ruins of the old.
Since the first edition of Principles of Behavior, the authors have sought to address the unique needs of students. This title has been written so that students of all levels will benefit from a solid introduction to the principles of behavior. The authors have laid the groundwork for behavior analysis through an exploration of experimental, applied, and theoretical concepts. Case studies and everyday examples help readers apply principles of behavior to real life. About the Book: This book also is integrated with the Behavior Analyst Certification Board task list and serves as an excellent introduction to many of the BACB tasks.
“Deb Olin Unferth’s stories are so smart, fast, full of heart, and distinctive in voice—each an intense little thought-system going out earnestly in search of strange new truths. What an important and exciting talent.”—George Saunders For more than ten years, Deb Olin Unferth has been publishing startlingly askew, wickedly comic, cutting-edge fiction in magazines such as Granta, Harper’s Magazine, McSweeney’s, NOON, and The Paris Review. Her stories are revered by some of the best American writers of our day, but until now there has been no stand-alone collection of her short fiction. Wait Till You See Me Dance consists of several extraordinary longer stories as well as a selection of intoxicating very short stories. In the chilling “The First Full Thought of Her Life,” a shooter gets in position while a young girl climbs a sand dune. In “Voltaire Night,” students compete to tell a story about the worst thing that ever happened to them. In “Stay Where You Are,” two oblivious travelers in Central America are kidnapped by a gunman they assume to be an insurgent—but the gunman has his own problems. An Unferth story lures you in with a voice that seems amiable and lighthearted, but it swerves in sudden and surprising ways that reveal, in terrifying clarity, the rage, despair, and profound mournfulness that have taken up residence at the heart of the American dream. These stories often take place in an exaggerated or heightened reality, a quality that is reminiscent of the work of Donald Barthelme, Lorrie Moore, and George Saunders, but in Unferth’s unforgettable collection she carves out territory that is entirely her own.