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"In her debut story collection, Kristen Arnett, with dark humor, explores the lives of queer women and their families in the light of the bleak Florida sun. A young dancer suddenly loses language while her family struggles to understand their new roles. A mother endures a horrifying spider bite while camping with her daughters in the backyard. A family reunion goes sour when a group of cousins are left to their own devices. In these ten stories, outward strength is always betrayed by deep vulnerability: these are characters so desperate for family and connection that they often isolate themselves--and sometimes, it's the world isolating them"--Goodreads.com.
The celebrated New York Times Bestseller A Best Book of the Year pick at the New York Times, NPR, The New Yorker, TIME, Washington Post, Oprahmag.com, Thrillist, Shelf Awareness, Good Housekeeping and more. What does it take to come back to life? For Jessa-Lynn Morton, the question is not an abstract one. In the wake of her father’s suicide, Jessa has stepped up to manage his failing taxidermy business while the rest of the Morton family crumbles. Her mother starts sneaking into the taxidermy shop to make provocative animal art, while her brother, Milo, withdraws. And Brynn, Milo’s wife—and the only person Jessa’s ever been in love with—walks out without a word. It’s not until the Mortons reach a tipping point that a string of unexpected incidents begins to open up surprising possibilities and second chances. But will they be enough to salvage this family, to help them find their way back to one another? Kristen Arnett’s breakout bestseller is a darkly funny family portrait; a peculiar, bighearted look at love and loss and the ways we live through them together.
NAMED A BEST BOOK OF THE YEAR BY THE WASHINGTON POST, VOGUE, MARIE CLAIRE, READER'S DIGEST, AND GOOD HOUSEKEEPING “A gripping read…Unabashedly queer, probing and unafraid…Exceedingly engaging.” –USA Today “Sublimely weird, fluently paced, brazenly funny and gayer still, and it richly deserves to find readers.” –New York Times From the author of the New York Times–bestselling sensation Mostly Dead Things: a surprising and moving story of two mothers, one difficult son, and the limitations of marriage, parenthood, and love If she’s being honest, Sammie Lucas is scared of her son. Working from home in the close quarters of their Florida house, she lives with one wary eye peeled on Samson, a sullen, unknowable boy who resists her every attempt to bond with him. Uncertain in her own feelings about motherhood, she tries her best—driving, cleaning, cooking, prodding him to finish projects for school—while growing increasingly resentful of Monika, her confident but absent wife. As Samson grows from feral toddler to surly teenager, Sammie’s life begins to deteriorate into a mess of unruly behavior, and her struggle to create a picture-perfect queer family unravels. When her son’s hostility finally spills over into physical aggression, Sammie must confront her role in the mess—and the possibility that it will never be clean again. Blending the warmth and wit of Arnett’s breakout hit, Mostly Dead Things, with a candid take on queer family dynamics, With Teeth is a thought-provoking portrait of the delicate fabric of family—and the many ways it can be torn apart.
With his stunning debut novel, She's Come Undone, Wally Lamb won the adulation of critics and readers with his mesmerizing tale of one woman's painful yet triumphant journey of self-discovery. Now, this brilliantly talented writer returns with I Know This Much Is True, a heartbreaking and poignant multigenerational saga of the reproductive bonds of destruction and the powerful force of forgiveness. A masterpiece that breathtakingly tells a story of alienation and connection, power and abuse, devastation and renewal--this novel is a contemporary retelling of an ancient Hindu myth. A proud king must confront his demons to achieve salvation. Change yourself, the myth instructs, and you will inhabit a renovated world. When you're the same brother of a schizophrenic identical twin, the tricky thing about saving yourself is the blood it leaves on your bands--the little inconvenience of the look-alike corpse at your feet. And if you're into both survival of the fittest and being your brother's keeper--if you've promised your dying mother--then say so long to sleep and hello to the middle of the night. Grab a book or a beer. Get used to Letterman's gap-toothed smile of the absurd, or the view of the bedroom ceiling, or the influence of random selection. Take it from a godless insomniac. Take it from the uncrazy twin--the guy who beat the biochemical rap. Dominick Birdsey's entire life has been compromised and constricted by anger and fear, by the paranoid schizophrenic twin brother he both deeply loves and resents, and by the past they shared with their adoptive father, Ray, a spit-and-polish ex-Navy man (the five-foot-six-inch sleeping giant who snoozed upstairs weekdays in the spare room and built submarines at night), and their long-suffering mother, Concettina, a timid woman with a harelip that made her shy and self-conscious: She holds a loose fist to her face to cover her defective mouth--her perpetual apology to the world for a birth defect over which she'd had no control. Born in the waning moments of 1949 and the opening minutes of 1950, the twins are physical mirror images who grow into separate yet connected entities: the seemingly strong and protective yet fearful Dominick, his mother's watchful "monkey"; and the seemingly weak and sweet yet noble Thomas, his mother's gentle "bunny." From childhood, Dominick fights for both separation and wholeness--and ultimately self-protection--in a house of fear dominated by Ray, a bully who abuses his power over these stepsons whose biological father is a mystery. I was still afraid of his anger but saw how he punished weakness--pounced on it. Out of self-preservation I hid my fear, Dominick confesses. As for Thomas, he just never knew how to play defense. He just didn't get it. But Dominick's talent for survival comes at an enormous cost, including the breakup of his marriage to the warm, beautiful Dessa, whom he still loves. And it will be put to the ultimate test when Thomas, a Bible-spouting zealot, commits an unthinkable act that threatens the tenuous balance of both his and Dominick's lives. To save himself, Dominick must confront not only the pain of his past but the dark secrets he has locked deep within himself, and the sins of his ancestors--a quest that will lead him beyond the confines of his blue-collar New England town to the volcanic foothills of Sicily 's Mount Etna, where his ambitious and vengefully proud grandfather and a namesake Domenico Tempesta, the sostegno del famiglia, was born. Each of the stories Ma told us about Papa reinforced the message that he was the boss, that he ruled the roost, that what he said went. Searching for answers, Dominick turns to the whispers of the dead, to the pages of his grandfather's handwritten memoir, The History of Domenico Onofrio Tempesta, a Great Man from Humble Beginnings. Rendered with touches of magic realism, Domenico's fablelike tale--in which monkeys enchant and religious statues weep--becomes the old man's confession--an unwitting legacy of contrition that reveals the truth's of Domenico's life, Dominick learns that power, wrongly used, defeats the oppressor as well as the oppressed, and now, picking through the humble shards of his deconstructed life, he will search for the courage and love to forgive, to expiate his and his ancestors' transgressions, and finally to rebuild himself beyond the haunted shadow of his twin. Set against the vivid panoply of twentieth-century America and filled with richly drawn, memorable characters, this deeply moving and thoroughly satisfying novel brings to light humanity's deepest needs and fears, our aloneness, our desire for love and acceptance, our struggle to survive at all costs. Joyous, mystical, and exquisitely written, I Know This Much Is True is an extraordinary reading experience that will leave no reader untouched.
While the intimate connection between mind and body has long been studied and applied to treat back, heart, skin, and gastrointestinal system pain, this book clearly explains how the mind can initiate changes in the body that result in persistent pain in the mouth, ears, jaw, forehead, and other facial areas. Detailed case studies clearly describe the relief from pain that patients finally feel, either through an understanding of the 'brain-pain' connection alone or in combination with traditional pain-relieving medications and technologies.
Whose truth is the lie? Stay up all night reading the sensational psychological thriller that has readers obsessed, from the #1 New York Times bestselling author of Too Late and It Ends With Us. #1 New York Times Bestseller · USA Today Bestseller · Globe and Mail Bestseller · Publishers Weekly Bestseller Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of bestselling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity’s notes and outlines, hoping to find enough material to get her started. What Lowen doesn’t expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read. Page after page of bone-chilling admissions, including Verity's recollection of the night her family was forever altered. Lowen decides to keep the manuscript hidden from Jeremy, knowing its contents could devastate the already grieving father. But as Lowen’s feelings for Jeremy begin to intensify, she recognizes all the ways she could benefit if he were to read his wife’s words. After all, no matter how devoted Jeremy is to his injured wife, a truth this horrifying would make it impossible for him to continue loving her.
"Like many 18-year-olds who sign up to serve with the U.S. Navy, Petersen was looking for adventure when he enlisted. The difference between him and the average kid of 1950, when he enlisted, was that Petersen was African American. At the time military opportunities were limited for blacks, so it was remarkable that Petersen, revealed here as an intense go-getter, was admitted to the highly competitive naval aviation cadet program. He would go on to become the first African American pilot, then flag officer, then three-star general in the deeply conservative Marine Corps. Assisted by veteran biographer Phelps, Petersen relates his personal and career trajectory from wide-eyed kid to seasoned combatant. Although the presentation at times is overly detailed, with recollections of Petersen's acquaintances sprinkled liberally throughout. This work offers valuable insight into the evolution of both the military and the society at large through the experience of one man and his family. It's hard not to wince when Petersen describes being stopped for impersonating a military officer at a time when blacks in the service were presumed to be enlisted men. Other anecdotes are more benign, such as the time a puzzled young Korean woman tried to wipe the color from his face. To Petersen's credit, he includes much commentary from his first wife, Ellie, who is candid about the toll of being married to an ambitious pioneer. Through her, readers see the mettle of that rare breed of social groundbreakers." — Publishers Weekly
Poetry. The poems of THE MOON'S JAW are a portrait of rotting decadence: wastelands of body and soul radioactive with death, cruelty, and a dark gleaming perverse sexuality. The language, flow, and rhythms of Rauan Klassnik's second collection seem to revel in themselves, stagnate, bog down, wallow. As Klassnik writes, "There's no way out but we don't stop trying" and here, we find a wasteland spectrum, from a playground, a twisted eden that lurches forward--despite a swollen turgid gravity of blurred gender and godlessness and wheel-spinning ruts--to an obsessive and persistently striving narrative of death, gender, corruption, and (anti)religion. "In the wound of a stabbed cosmos, Rauan Klassnik's moon, kin to Plath's moon bald and wild, bucks against despair. Anytime we devour the queen, we will be forced to vomit her back up, a clean saint out of our foaming mouths. A pretty swell in the music. We're not afraid of the cinema, even though it houses all our nightmares. We're not afraid to die. Marble, Tequila, Rotted, Flapping. The myth of biological sex, the myth of biological stability [l]ike cathedral meat. Wrapped in a thin red towel."--Danielle Pafunda