An epic movie from the creator of Orlando and The Tango Lesson, The Man Who Cried is a young woman's coming-of-age story set in the dangerous maelstrom of the Nazi Occupation of Paris. The film charts a journey which begins in the lost world of old Jewry and ends in the new world of Hollywood, a journey in which the young woman's original language is taken from her, causing her to retreat into silence - and song. The film attempts to mourn for those lost in the terrible events of the last century - and to celebrate those who found their voices and survived.
The only thing Roger likes better than exploring the world around him is describing it. And Roger describes most things as fabulous! But his parents have a different view. They want Roger to see things the way they do, so they ban "fabulous" from his vocabulary. Fabulously illustrated by Peter Ferguson, this cheerful tale will have children rejoicing along with Roger at all the fabulous--no, marvelous! no, dazzling!--things that await him when he steps outside.
A boy tending sheep on a lonely mountainside thinks it a fine joke to cry "wolf" and watch the people come running, until the day a wolf is really there and no one answers his call. Includes a word puzzle and reading tips for parents.
There are men who can at times be stirred by the power and conflict of their own emotions to the point of shedding tears. Such a man was Abel Mason. Unhappily married to the shrewish Lena, he sought release in a love affair that all too soon ended in brutal tragedy. Abel left home, taking with him his young son, Dick, and together they tramped their way to the North where his roots lay. It was a hard and sometimes traumatic journey, and at its end there seemed to open up whole new vistas of life and experience. But the legacy of the past remained, and the burden of its secrets would continue to play a major part in shaping Abel's destiny and Dick's character alike.
Patients bring many bits and pieces to their doctors' visits. Health issues. Things they've noticed. Worries about specific symptoms. Concerns that need reassurance. They also bring their personal stories though in the present high-tech assessment of patients' health, these are easily missed, and we are all the less for that loss today. Yesterday's doctors had the time to visit with their patients. We took delight in hearing what had been special in our patients' lives. We learned about the particular events that made some patients so different from any others, made them what they are. Some intrigued us. Some charmed us. Some amused us. Some worried us. And some scared the pants off us. None bored us. Such personal knowledge of our patients helped to make us see them as individuals. Indeed, patients might be surprised to find how much we recall of those times they came to see us. This book, a collection of stories from patients' lives, may show we remember them fondly.
Rediscover the sensational 1967 literary thriller that captures the bitter struggles of postwar Black intellectuals and artists With a foreword by Ishmael Reed and a new introduction by Merve Emre about how this explosive novel laid bare America's racial fault lines Max Reddick, a novelist, journalist, and presidential speechwriter, has spent his career struggling against the riptide of race in America. Now terminally ill, he has nothing left to lose. An expat for many years, Max returns to Europe one last time to settle an old debt with his estranged Dutch wife, Margrit, and to attend the Paris funeral of his friend, rival, and mentor Harry Ames, a character loosely modelled on Richard Wright. In Amsterdam, among Harry’s papers, Max uncovers explosive secret government documents outlining “King Alfred,” a plan to be implemented in the event of widespread racial unrest and aiming “to terminate, once and for all, the Minority threat to the whole of the American society.” Realizing that Harry has been assassinated, Max must risk everything to get the documents to the one man who can help. Greeted as a masterpiece when it was published in 1967, The Man Who Cried I Am stakes out a range of experience rarely seen in American fiction: from the life of a Black GI to the ferment of postcolonial Africa to an insider’s view of Washington politics in the era of segregation and the Civil Rights Movement, including fictionalized portraits of Martin Luther King, Jr., and Malcolm X. John A. Williams and his lost classic are overdue for rediscovery. Few novels have so deliberately blurred the boundaries between fiction and reality as The Man Who Cried I Am (1967), and many of its early readers assumed the King Alfred plan was real. In her introduction, Merve Emre examines the gonzo marketing plan behind the novel that fueled this confusion and prompted an FBI investigation. This deluxe paperback also includes a new foreword by novelist Ishmael Reed. “It is a blockbuster, a hydrogen bomb . . . . This is a book white people are not ready to read yet, neither are most black people who read. But [it] is the milestone produced since Native Son. Besides which, and where I should begin, it is a damn beautifully written book.” —Chester Himes “Magnificent . . . obviously in the Baldwin and Ellison class.” —John Fowles “If The Man Who Cried I Am were a painting it would be done by Brueghel or Bosch. The madness and the dance is never-ending display of humanity trying to creep past inevitable Fate.” —Walter Mosely
A love triangle shapes this intricate murder mystery from the popular twentieth-century author of the Rachel Murdock series. When a policeman shows up at her door one morning, Doris Chenoweth is sure her husband, Sargent, is home—but she’s wrong. He’s been found dead in his car at the edge of a reservoir. With no one else to turn to, Doris calls her elderly uncle Chuck, knowing he has no real reason to help her since they’ve fallen out of touch. But to Doris’s relief, Chuck comes to her aid, armed with his law degree. Acting as her attorney, he delves into her husband’s affairs—business and romantic. The revelations come fast and furiously, pointing to infidelity, shady stock investments, and a betrayal of the worst kind. And when Chuck realizes Doris has secrets of her own—ones that could land her in jail—he must determine which is a greater motive for murder: love or money . . . Praise for Dolores Hitchens “High-grade suspense.” —San Francisco Chronicle on Stairway to an Empty Room/Terror Lurks in Darkness “Dolores Hitchens wrote crime novels that were both tough and compassionate, with a sharp eye for the emotional scars that violence leaves.” —MysteryTribune “Almost unbearable suspense . . . Holds the reader to the last punctuation mark.” —Greensboro News & Record on The Grudge
"Nothing ever happens here," the shepherd thinks. But the bored boy knows what would be exciting: He cries that a wolf is after his sheep, and the town's people come running. How often can that trick work, though? B.G. Hennessy's retelling of this timeless fable is infused with fanciful whimsy through Boris Kulikov's hilarious and ingenious illustrations. This tale is sure to leave readers grinning sheepishly.
