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A disturbing, darkly funny fictionalization of the life of Fred A. Leuchter, the garage tinkerer turned execution authority who became a darling of the neo-Nazi movement, and subject of the Errol Morris documentary, Mr. Death. He comes to fix your photocopier, but really, Fred’s an inventor. At night, he goes to work. He has goals, ambitions, and when offered the task of building a better electric chair, he jumps at the chance. People have to die—he believes in the occasional necessity of evil—but what if we could kill them more humanely? A death specialist, first in his field but forever under-appreciated, he’s charmed when a new generation of fascists come calling for his expertise...
A harrowing, intense, powerful new novel that reads like a classic, from one of the great writers of his generation. Nineteen battles his way into the pros, becomes the quarterback, becomes the myth. Marries the owner’s daughter, touches greatness few will ever dream of, retires into what he assumes will be the promised afterlife of days on the golf course, celebrity endorsements, and cushy real estate investments. But markets tank, family disintegrates, fame fades, and the holes in his mind and memory from a career of punishment on the field become too large and frightening to ignore. When he hears of a miracle brain damage treatment forbidden in the U.S., he travels to the Mosquito Coast...
Fiction. A spare and chilling account of the day-to-day experience of Sloper, a janitor in a big-city office building, WASTE explores the import of the discarded--for those who generate it, those who dispose of it, and those who are themselves discarded. From the humble prospect of his station, Sloper uncovers ominous possibility in lives he barely brushes. Brian Everson says, "Only Eugene Marten can keep a reader enthralled with the minutiae of a janitorial existence.... Precisely and exquisitely detailed, WASTE is a stark little masterpiece." And Dawn Raffel writes, "[P]itch-perfect. WASTE wastes nothing--not a syllable, a beat, a ragged breath." And Sam Lipsyte writes, "There is nothing quite like the controlled burn of Eugene Marten's prose."
Called "an explosive road novel" by Vanity Fair, Eugene Marten is the rightful successor to Cormac McCarthy.
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The Gory Stories Behind The Murder Ballads Cheerfully vulgar, revelling in gore, and always with an eye on the main chance, murder ballads are tabloid newspapers set to music, carrying word of the latest ‘orrible murders to an insatiable public. Victims are bludgeoned, stabbed or shot in every verse and killers often hanged, but the songs themselves never die. Instead, they mutate – morphing to suit local place names as they criss cross the Atlantic and continue to fascinate each generation’s biggest musical stars. Paul Slade traces this fascinating genre’s history through eight of its greatest songs. Stagger Lee’s “biographers” alone include Duke Ellington, James Brown, Bob Dylan, Dr John, The Clash and Nick Cave. No two tell his story in quite the same way. Covering eight classic murder ballads, including “Knoxville Girl”, “Tom Dooley” and “Frankie & Johnny”, Slade investigates the real-life murder which inspired each song and traces its musical development down the decades. Billy Bragg, The Bad Seeds’ Mick Harvey, Laura Cantrell, Rennie Sparks of The Handsome Family and a host of other leading musicians add their own insights.
A groundbreaking study of the extraordinary photographers, writers, printmakers, and publishers who formed a flourishing modernist community in Kentucky Dozens of American cities witnessed the founding of camera clubs in the first half of the 20th century, though few boasted as many accomplished artists as the one based in Lexington, Kentucky. This pioneering book provides the most absorbing account to date of the Lexington Camera Club, an under-studied group of artists whose ranks included Ralph Eugene Meatyard, Van Deren Coke, Robert C. May, James Baker Hall, and Cranston Ritchie. These and other members of the Lexington Camera Club explored the craft and expressive potential of photograph...
After a polarizing election, America breaks into a civil war, followed by a failed foreign invasion. Winning is not the end! New America divides into projects based on race and religion. Citizens who protest or break the laws are labeled an "enemy of peace." An enemy of peace quickly loses their head to the guillotine. Colt Jenkins resides in the New Bethlehem Project, where New American youth must navigate between Country, God, Survival, Love, Family, and Friends. Surviving daily attacks from Broken Mecca is not the only challenge. Katherine Shay, New Bethlehems keeper of the law, terrorizes citizens using the red phone, turning them into the government as enemies of peace. In a world with intermittent electricity, the President makes decrees from the television. The government controls the news and all information. The rising tension in the country and the Project puts Colt in Katherine's and the government's crosshairs. After being publicly humiliated by Katherine, Colt discovers the government is not what it appears. Colt will have to decide what kind of man he will be and what he will choose to leave behind in his race to save his family and his love.
Called, an explosive road novel, by Vanity Fair, Eugene Marten is the rightful successor to McCarthy.
Long out of print, Eugene Lim's wry and haunting debut novel returns to shelves with a new introduction from Renee Gladman and a fresh, reversible cover. Jim Fog is marooned in a small Midwest town shortly after his divorce, succumbing to aimless nostalgia. His ex, Sarah Car, has moved to New York City, hoping to skip right over any mourning period for their marriage. Despite everything, Jim and Sarah find they're still connected through an old, shared friend. When they both decide to chase him down, the resulting coincidences and cryptic occurrences culminate in a trading of souls that blurs the lines between reality and something much stranger. A moving mystery about loss, grief, and the loneliness of the human condition, Fog & Car was hailed as the arrival of a masterful new voice in American fiction on its initial publication; now, more than a decade later, it reads as nothing less than prophetic.