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All Over and Over
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SPIN
From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.
Sunshine on an Open Tomb
Set in fall 1988, Sunshine On An Open Tomb shuttles between two storylines: the creation of The CIA as a result of the Texas/Kingdom oil connection, and a love triangle involving the moon. Our narrator is the brooding runt of a political dynasty whose father is about to be appointed Prez. He is thoughtful, but has trouble expressing himself due to his many physical defects as a result of inbreeding. Desperate for content at the advent of the 24-hour news cycle, even our narrator is suddenly of interest to The Media. So after years of living freely among The Barbarians, The Family hides him away in one of its secret hideouts. Exhausted by the shape-shifting estate and his irresolvable love life, our narrator cloisters himself deep in the estate’s bunker and constructs a tomb around himself out of soup cans. Here he gets to work correcting the best-selling, so-called objective biography of The Family.
Let Go and Go on and on
A novel that attempts to capture the true character of the late actress, Laurie Bird.
Hope Island
A gripping supernatural mystery for fans of John Wyndham's The Midwich Cuckoos from the author of Snakeskins. Workaholic TV news producer Nina Scaife is determined to fight for her daughter, Laurie, after her partner Rob walks out on her. She takes Laurie to visit Rob's parents on the beautiful but remote Hope Island, to prove to her that they are still a family. But Rob's parents are wary of Nina, and the islanders are acting strangely. And as Nina struggles to reconnect with Laurie, the silent island children begin to lure her daughter away. Meanwhile, Nina tries to resist the scoop as she is drawn to a local artists' commune, the recently unearthed archaeological site on their land, and the dead body on the beach...
See You In The Morning
See You In the Morning is a book about three 17-year-olds, Rosie, John, and the narrator, who take care of each other one summer in a small Midwestern town. Rosie is a mystic romantic whose dad earned so much money writing screenplays that she doesn’t need an after-school job. John, Rosie’s ex, works at the roller rink in a rabbit costume and takes care of his mom when she's tired after a day cutting hair. The narrator works at a bookstore and sometimes focuses so hard on their reading that they see polka dots take over the room. John is the narrator's best and oldest friend, so now the two of them must be in love, right? Because if they aren't, why stay in town? But if they aren't, who else will ever understand? What is love and how does it work? See You In the Morning happens at diners and house shows, in paragraph-shaped poems, and the narrator's angry, tender, colorful voice.
The Image before the Weapon
Since at least the Middle Ages, the laws of war have distinguished between combatants and civilians under an injunction now formally known as the principle of distinction. The principle of distinction is invoked in contemporary conflicts as if there were an unmistakable and sure distinction to be made between combatant and civilian. As is so brutally evident in armed conflicts, it is precisely the distinction between civilian and combatant, upon which the protection of civilians is founded, cannot be taken as self-evident or stable. Helen M. Kinsella documents that the history of international humanitarian law itself admits the difficulty of such a distinction. In The Image before the Weapon...
The Conversations
During the filming of his celebrated novel THE ENGLISH PATIENT, Michael Ondaatje became increasingly fascinated as he watched the veteran editor Walter Murch at work. THE CONVERSATIONS, which grew out of discussions between the two men, is about the craft of filmmaking and deals with every aspect of film, from the first stage of script writing to the final stage of the sound mix. Walter Murch emerged during the 1960s at the centre of a renaissance of American filmmakers which included the directors Francis Coppola, George Lucas and Fred Zinneman. He worked on a whole raft of great films including the three GODFATHER films, JULIA, AMERICAN GRAFFITI, APOCALYPSE NOW, THE UNBEARABLE LIGHTNESS OF BEING and many others. Articulate, intellectual, humorous and passionate about his craft and its devices, Murch brings his vast experience and penetrating insights to bear as he explains how films are made, how they work, how they go wrong and how they can be saved. His experience on APOCALYPSE NOW - both originally and more recently when the film was completely re-cut - and his work with Anthony Minghella on THE ENGLISH PATIENT provide illuminating highlights.
Michael Schmelling
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I Owe You One
Fixie Farr sering berpikir apakah nama panggilannya sebuah anugerah atau malah kutukan. Fixie selalu merasa harus membereskan sesuatu. Ia merasa bertanggung jawab mempertahankan toko keluarga Farrs peninggalan mendiang sang ayah karena kedua kakaknya tidak peduli. Namun saat ibu mereka sakit dan berlibur, tiba-tiba kedua kakak Fixie ikut campur bahkan nyaris membuat toko bangkrut! Fixie tidak berdaya menghadapi kedua kakaknya yang dominan. Ia selalu merasa rendah diri dan tidak pantas. Fixie harus berubah! Tetapi masalah muncul ketika ia mulai mencoba ÒmemberontakÓ. Selalu ingin membereskan sesuatu ternyata tidak selalu berakhir baik. Kini Fixie harus memilih: tetap memegang teguh keyakinannya, atau kehilangan orang yang ia cintai?
