Translated from the 1948 French edition. A remarkable memoir of the Polish composer Szymon Laks. While interned at the Auschwitz extermination camp, Laks became kappelmeister of the Auschwitz band. With wit and self-detachment, he records the grotesque phenomena of music among the crematoria. Paper edition (unseen), $10.95. Annotation copyrighted by Book News, Inc., Portland, OR
A master of award-winning queer historical fiction, New York Times bestselling author Robin Talley brings to life an emotionally captivating story about the lives of two teen girls living in an age when just being yourself was an incredible act of bravery. It’s summer 1977 and closeted lesbian Tammy Larson can’t be herself anywhere. Not at her strict Christian high school, not at her conservative Orange County church and certainly not at home, where her ultrareligious aunt relentlessly organizes antigay political campaigns. Tammy’s only outlet is writing secret letters in her diary to gay civil rights activist Harvey Milk…until she’s matched with a real-life pen pal who changes everything. Sharon Hawkins bonds with Tammy over punk music and carefully shared secrets, and soon their letters become the one place she can be honest. The rest of her life in San Francisco is full of lies. The kind she tells for others—like helping her gay brother hide the truth from their mom—and the kind she tells herself. But as antigay fervor in America reaches a frightening new pitch, Sharon and Tammy must rely on their long-distance friendship to discover their deeply personal truths, what they’ll stand for…and who they’ll rise against.
During the Great War, composers and performers created music that expressed common sentiments like patriotism, grief, and anxiety. Yet music also revealed the complexities of the partnership between France, Great Britain, Canada, and the United States. At times, music reaffirmed a commitment to the shared wartime mission. At other times, it reflected conflicting views about the war from one nation to another or within a single nation. Over Here, Over There examines how composition, performance, publication, recording, censorship, and policy shaped the Atlantic allies' musical response to the war. The first section of the collection offers studies of individuals. The second concentrates on communities, whether local, transnational, or on the spectrum in-between. Essay topics range from the sinking of the Lusitania through transformations of the entertainment industry to the influenza pandemic. Contributors: Christina Bashford, William Brooks, Deniz Ertan, Barbara L. Kelly, Kendra Preston Leonard, Gayle Magee, Jeffrey Magee, Michelle Meinhart, Brian C. Thompson, and Patrick Warfield
A New York Times Book Review Notable Book of 2017 An electrifying first collection from one of the most exciting short story writers of our time "I can’t recall the last time I laughed this hard at a book. Simultaneously, I’m shocked and scandalized. She’s brilliant, this young woman."—David Sedaris Ottessa Moshfegh's debut novel Eileen was one of the literary events of 2015. Garlanded with critical acclaim, it was named a book of the year by The Washington Post and the San Francisco Chronicle, nominated for a National Book Critics Circle Award, short-listed for the Man Booker Prize, and won the PEN/Hemingway Award for debut fiction. But as many critics noted, Moshfegh is particularly held in awe for her short stories. Homesick for Another World is the rare case where an author's short story collection is if anything more anticipated than her novel. And for good reason. There's something eerily unsettling about Ottessa Moshfegh's stories, something almost dangerous, while also being delightful, and even laugh-out-loud funny. Her characters are all unsteady on their feet in one way or another; they all yearn for connection and betterment, though each in very different ways, but they are often tripped up by their own baser impulses and existential insecurities. Homesick for Another World is a master class in the varieties of self-deception across the gamut of individuals representing the human condition. But part of the unique quality of her voice, the echt Moshfeghian experience, is the way the grotesque and the outrageous are infused with tenderness and compassion. Moshfegh is our Flannery O'Connor, and Homesick for Another World is her Everything That Rises Must Converge or A Good Man is Hard to Find. The flesh is weak; the timber is crooked; people are cruel to each other, and stupid, and hurtful. But beauty comes from strange sources. And the dark energy surging through these stories is powerfully invigorating. We're in the hands of an author with a big mind, a big heart, blazing chops, and a political acuity that is needle-sharp. The needle hits the vein before we even feel the prick.
Mariano and his friends are helping their parents turn an old Brazilian coffee plantation into an inn. The children sleep in a shed, which is being converted into guest rooms. One night they hear crying. Gradually, the ghost of Rosario, a young slave from the late 1800s appears to them and tells the story of why she is so sad. Hans Christian Andersen Award-winning author Ana Maria Machado's storytelling skills and social conscience come together in this powerful and moving book that reveals the evil of slavery in a real, immediate and unforgettable way.
Seventeen-year-old Gwen is preparing to audition for New York City’s top music schools when her grandfather mysteriously disappears, leaving Gwen only a phone message telling her not to worry. But there’s nothing more stressful than practicing for her auditions, not knowing where her grandfather is, and being forced to lie about his whereabouts when her insistent great-uncle demands an audience with him. Then Gwen meets Robert, also in town for music auditions, and the two pair up to brave the city without supervision. As auditions approach and her great-uncle becomes more aggressive, Gwen and Robert make a startling discovery. Suddenly Gwen’s hopes are turned upside down, and she and Robert are united in ways neither of them could have foretold. . . .
This collection represents the cream of the more than five hundred articles written for the Village Voice by Kyle Gann, a leading authority on experimental American music of the late twentieth century. Charged with exploring every facet of cutting-edge music coming out of New York City in the 1980s and '90s, Gann writes about a wide array of timely issues that few critics have addressed, including computer music, multiculturalism and its thorny relation to music, music for the AIDS crisis, the brand-new art of electronic sampling and its legal implications, symphonies for electric guitars, operas based on talk shows, the death of twelve-tone music, and the various streams of music that flowed forth from minimalism. In these articles—including interviews with Yoko Ono, Philip Glass, Glenn Branca, and other leading musical figures—Gann paints a portrait of a bristling era in music history and defines the scruffy, vernacular field of Downtown music from which so much of the most fertile recent American music has come.
The popularity of cartoon music, from Carl Stalling's work for Warner Bros. to Disney sound tracks and "The Simpsons"' song parodies, has never been greater. This lively and fascinating look at cartoon music's past and present collects contributions from well-known music critics and cartoonists, and interviews with the principal cartoon composers. Here Mark Mothersbaugh talks about his music for "Rugrats," Alf Clausen about composing for "The Simpsons," Carl Stalling about his work for Walt Disney and Warner Bros., Irwin Chusid about Raymond Scott's work, Will Friedwald about "Casper the Friendly Ghost," Richard Stone about his music for "Animaniacs," Joseph Lanza about "Ren and Stimpy," and much, much more.
Yancey investigates the natural world and discovers the supernatural hiding in plain view. He grapples with why God made the world and what our role truly is, and seeks to answer the question, "How does one live in the natural world while expressing the values of the supernatural?" (Christian)
Rob was an ordinary college sophomore when a pitch-back portal opened up on campus and tried to kidnap his best friend. An act of heroism resulted in him being taken instead, and he was rewarded for his efforts by being transported to another world with nothing but a sword and the clothes on his back. On the first day, he almost died. On the second day, he almost died. On the third, he began to notice a worrying trend. And almost died Whether he encounters wolves, cliffs, dungeons, monsters, or diseases, every day is a struggle to survive. The one advantage he has is his newfound ability to gain Levels and Stats, making himself stronger in order to survive the hostile lands that he was unceremoniously dumped into. He'll have to gain knowledge of the innerworkings of the world and its magic - progressing both his strength and his knowledge - in order to stay alive long enough to get revenge on whoever kidnapped him away from everything he knew and loved. Overcoming the wilds is just the first step in his journey; the locals aren't fond of humans, and discovering the dark past behind this new world's history of war and strife changes everything. As far as isekai adventures go, Rob drew the short straw in many ways, but it'll take more than danger at every corner to keep him down. He'll carve out a place in this world with his bare hands if necessary. He'll survive, and then he'll thrive. Whether anyone wants him to or not. -- An Outcast On Another World puts a great focus on story and characterization, making it perfect for fans of traditional fantasy stories, while still including plenty of skills, stats, classes, and progression for LitRPG-lovers to enjoy. The LitRPG elements are incorporated into the main story to construct a cohesive world that's easy to immerse yourself in. Rob's progression is weak to strong, and victories aren't handed to him on a silver platter. No matter how powerful he gets, mid-combat ingenuity is essential to achieving victory. An Outcast In Another World has dark elements to its narrative, but I've included appropriate humor as a balance, and many readers have told me that some parts made them burst out laughing while other parts tugged at their heartstrings. I truly believe that I've constructed a memorable fantasy RPG story that all types can love, and that you'll enjoy reading it as much as I enjoyed writing it.
