Shirley seemed to be doomed from the beginning. Founded by a Vaudevillian huckster who touted it as a seaside haven despite the sand bar that blocks access to the shore, the town has been plagued by one disaster after another—a UFO, a childhood cancer cluster, and a mysterious federal nuclear laboratory in nearby Brookhaven that leaked toxic nuclear and chemical waste into the aquifer from which the residents unknowingly drew their well water. This is Kelly McMasters' account of growing up in a cursed town and loving it anyway, and of a girl's awakening to tragedy and to a sense of mission. Told in a deliciously engaging voice, Welcome to Shirley balances the bitter with the sweet, the funny with the infuriating, in an unforgettable story of working class Long Island.
With humor and grace, the memoir of a first-generation Chinese American in New York City. Our Laundry, Our Town is a memoir that decodes and processes the fractured urban oracle bones of Alvin Eng’s upbringing in Flushing, Queens, in the 1970s. Back then, his family was one of the few immigrant Chinese families in a far-flung neighborhood in New York City. His parents had an arranged marriage and ran a Chinese hand laundry. From behind the counter of his parents’ laundry and within the confines of a household that was rooted in a different century and culture, he sought to reconcile this insular home life with the turbulent yet inspiring street life that was all around them––from the faux martial arts of TV’s Kung Fu to the burgeoning underworld of the punk rock scene. In the 1970s, NYC, like most of the world, was in the throes of regenerating itself in the wake of major social and cultural changes resulting from the counterculture and civil rights movements. And by the 1980s, Flushing had become NYC’s second Chinatown. But Eng remained one of the neighborhood’s few Chinese citizens who did not speak fluent Chinese. Finding his way in the downtown theater and performance world of Manhattan, he discovered the under-chronicled Chinese influence on Thornton Wilder’s foundational Americana drama, Our Town. This discovery became the unlikely catalyst for a psyche-healing pilgrimage to Hong Kong and Guangzhou, China—his ancestral home in southern China—that led to writing and performing his successful autobiographical monologue, The Last Emperor of Flushing. Learning to tell his own story on stages around the world was what proudly made him whole. As cities, classrooms, cultures, and communities the world over continue to re-examine the parameters of diversity, equity, and inclusion, Our Laundry, Our Town will reverberate with a broad readership.
A NEW YORK TIMES AND #1 INDIEBOUND BEST SELLER #6 on American Library Association's Office of Intellectual Freedom's Top 10 Most Challenged Books of 2020 A Little Free Library Action Book Club Selection National Parenting Product Award Winner (NAPPA) Something Happened in Our Town follows two families — one White, one Black — as they discuss a police shooting of a Black man in their community. The story aims to answer children's questions about such traumatic events, and to help children identify and counter racial injustice in their own lives. Includes an extensive Note to Parents and Caregivers with guidelines for discussing race and racism with children, child-friendly definitions, and sample dialogues.
In 1920 Thomas Wolfe left the South with the strong desire to become a dramatist. To pursue his chosen craft, he enrolled in the Harvard 47 Workshop, at that time the most renowned in the nation. At first he wrote plays about Appalachian society and the Civil War. But it was not until Wolfe turned to the modern South—inspired by a disturbing return to his hometown of Asheville, North Carolina—that his genius awoke. There he found the material he would work into the best of his three full-length plays written at Harvard, the material that in the next decade would be recast into the novels that would make him famous. This is the first book publication of Welcome to Our City, Thomas Wolfe’s play in ten scenes of a modern South ruled by liars and real estate agents, overrun with boosterism, and dedicated to greed. This sprawling, fiery work has lain dormant among Wolfe’s papers for over fifty years, abandoned by its author after an unsuccessful attempt to revise and shorten it for a New York Theatre Guild production. For this edition, Richard S. Kennedy has reassembled a full performance text of the workshop version presented at Harvard in 1923—a production that involved forty-five cast members, including over thirty speaking parts, required seven stage changes, and lasted over three and a half hours in performance. The action of Welcome to Our City centers on a scheme of the town fathers and real estate promoters of Altamont, a small southern city, to snatch up all the property in a centrally located black district, evict the tenants, tear down their houses and shops, and build a new white residential section in its place. When the blacks, under the angry leadership of a strong-willed doctor, resist eviction, a race riot breaks out—shattering both the precarious social balance of the city and the “progressive” dreams of Altamont’s boosters. Building on this plot, Wolfe guides his audience through the back rooms, stately homes, ans shanty towns of Altamont, contrasting tradition-bound southern characters with a new breed of life drawn from the vast menagerie of 1920s Main Street America: fact-spouting yes-men, hypocritical religious leaders, anti-intellectual professors, provincial country club matrons, and politicians inauthentic from their heads to their feet. Welcome to Our City is not merely an exhibit in the artistic development of a future novelist. Wolfe used the dramatic form inventively and with considerable inspiration to expose the culture of greed that he saw spreading around him and to caricature the men who, he feared, would usher in an age of mediocrity across America. Emotionally gripping and mockingly satiric, Welcome to Our City captures the festering social climate of the 1920s in a vision of life that is uncomfortably relevant to our own times.
Our Town is the debut of a striking literary voice, one that captures the disillusion at the fringes of Hollywood as seen through a haze of drugs, alcohol, abuse, and fallen aspirations. An unseen narrator guides us through the dark fairy tale of Dorothy White, an aspiring actress who "never quite figured how to get out of her own way." Her perfect marriage to an equally golden actor, Dale, quickly turns into one of jealousy and violence. Dorothy ends the marriage yet begins a legacy of self–destruction for the failed couple, as well as their two children, Clover and Dylan. But we see the pathos in Dorothy's attempts to get back on track, to be a good woman, mother, and grandmother. Throughout the novel, she is left in the wake of decisions that turn disastrous. Her downward spiral from elusive fame into consistent infamy—a series of DUIs, the continuing neglect of her children, a string of failed and unhealthy relationships—is not without its grace, with the warmth of her character shining through her spackled makeup and cloud of acrid perfume. In many ways, Dorothy White is an anti–heroine for the ages—"vanilla voiced," bewigged, loving, and ever radiant —a sympathetic character caught in the riptide of her transformation from small–town southern girl to one–time toast of Hollywood to embarrassing tabloid fodder. Our Town is an original and startling debut novel, one whose fresh voice and expert perspective reinvents the Hollywood story for a new generation of readers.
Between Hollywood glamour and small-town secrets, what is the truth? The show American Superstars is the hottest thing on television, but its associate producer, Mandalay Florentino, is worried. She's just arrived in the tiny town of Daily, Texas, to arrange a surprise "reunion concert" for hometown finalist Amber Anderson. Only it turns out everyone in town seems to know the secret. And paparazzi are arriving. And word from Hollywood is that Amber has disappeared with a "bad boy" actor. Can anything go right in this tumbleweed town? Imagene Doll loves her town of Daily, Texas, but things are lonelier without her beloved husband. Life seems dull. At least until that fancy-dressed woman pulls into town, looking terrified and glamorous all at once. Soon life's not the least bit boring as Imagene--and the rest of Daily--find themselves at the center of a media maelstrom...with a young girl's future on the line.
With humor and grace, the memoir of a first-generation Chinese American in New York City Our Laundry, Our Town is a memoir that decodes and processes the fractured urban oracle bones of Alvin Eng's upbringing in Flushing, Queens in the 1970s. Back then, his family was one of the few immigrant Chinese families in a far-flung neighborhood in New York City. His parents had an arranged marriage and ran a Chinese Hand Laundry. From behind the counter of his parent’s laundry and within the confines of a household that was rooted in a different century and culture, he sought to reconcile this insular home life with the turbulent yet inspiring street life that was all around them––from the faux martial arts of tv’s Kung Fu to the burgeoning underworld of the punk rock scene. In the 1970s, NYC, like most of the world, was in the throes of regenerating itself in the wake of major social and cultural changes resulting from the Counterculture and Civil Rights movements. And by the 1980s, Flushing had become NYC’s second Chinatown. But Eng remained one of the neighborhood’s few Chinese citizens who could not speak fluent Chinese. Finding his way in the downtown theater and performance world of Manhattan, he discovered the under-chronicled Chinese influence on Thornton Wilder’s foundational Americana drama, Our Town. This discovery became the unlikely catalyst for a psyche-healing pilgrimage to Hong Kong and Guangzhou, China—his ancestral home in southern China—that led to writing and performing his successful autobiographical monologue, The Last Emperor of Flushing. Learning to tell his own story on stages around the world was what proudly made him whole. As cities, classrooms, cultures, and communities the world over continue to re-examine the parameters of diversity, equity, and inclusion, Our Laundry, Our Town will reverberate with a broad readership.
Darrel Chaney made it to the Big Leagues. He played for 7 years on one of the best teams ever to take the field, the Cincinnati Reds—the Big Red Machine. He played in 4 National League Championship Series and 3 World Series. He was in the game that the Major League Baseball Network considered the best game of the last 50 years—game 6 of the 1975 World Series. But Darrel had a nagging frustration that eroded his belief in his significance. Disappointments, setbacks and opposition attacked his dream. He was a utility player among superstars. Most men are utility players. They face the same battles that Darrel faced. They get frustrated and lose enthusiasm for work and life itself. But, when a man discovers his God given significance, he enjoys life more and does better in it. Then, whatever his game, he is in the Big Leagues.
