CROWN CHASER, KINGMAKER, POSER, PRETENDER, WANNABE HEIR They had it all wrong. I never wanted to rule the world; all I wanted was her. But they couldn’t see past my bad reputation, so they forced us apart. That was ten years ago, and I’ve grown up. I’m still a rebel. I’m still reckless. But I’m also ruthless. Determined. And I have even bigger balls. So, when I find out she’s in trouble, I have to help her. It doesn’t matter that she hates me. She’ll get over it. Fighting for her is what I was born to do. I never wanted to rule until she needed me to, and this time I won’t stop until I get what I want. If they think I will… They have it all wrong.

Sherry is off on her honeymoon when Chief Harper comes to Cora Felton, asking her to solve a crossword puzzle found on the body of Old Man Overmeyer. Small problem. Cora is the Milli Vanilli of cruciverbalists. Her niece, Sherry, writes the crossword puzzle column for her. Cora pokes into Overmeyer's death, hoping to prove he died of natural causes. She learns the cranky hermit was the sole surviving member of a forty-year-old stock pooling agreement, and before she can say "capital gain," the town is full of heirs. Complicating things is Sherry's ex-husband, Dennis, who is playing detective in the hopes of impressing his ex-wife. With Sherry out of town, her restraining order against him is moot, and he is taking full advantage of the fact. With Dead Man's Puzzle, Parnell Hall delivers another stellar, puzzle-packed entry in his entertaining Puzzle Lady series.

Shakesqueer puts the most exciting queer theorists in conversation with the complete works of William Shakespeare. Exploring what is odd, eccentric, and unexpected in the Bard’s plays and poems, these theorists highlight not only the many ways that Shakespeare can be queered but also the many ways that Shakespeare can enrich queer theory. This innovative anthology reveals an early modern playwright insistently returning to questions of language, identity, and temporality, themes central to contemporary queer theory. Since many of the contributors do not study early modern literature, Shakesqueer takes queer theory back and brings Shakespeare forward, challenging the chronological confinement of queer theory to the last two hundred years. The book also challenges conceptual certainties that have narrowly equated queerness with homosexuality. Chasing all manner of stray desires through every one of Shakespeare’s plays and poems, the contributors cross temporal, animal, theoretical, and sexual boundaries with abandon. Claiming adherence to no one school of thought, the essays consider The Winter’s Tale alongside network TV, Hamlet in relation to the death drive, King John as a history of queer theory, and Much Ado About Nothing in tune with a Sondheim musical. Together they expand the reach of queerness and queer critique across chronologies, methodologies, and bodies. Contributors. Matt Bell, Amanda Berry, Daniel Boyarin, Judith Brown, Steven Bruhm, Peter Coviello, Julie Crawford, Drew Daniel, Mario DiGangi, Lee Edelman, Jason Edwards, Aranye Fradenburg, Carla Freccero, Daniel Juan Gil, Jonathan Goldberg, Jody Greene, Stephen Guy-Bray, Ellis Hanson, Sharon Holland, Cary Howie, Lynne Huffer, Barbara Johnson, Hector Kollias, James Kuzner , Arthur L. Little Jr., Philip Lorenz, Heather Love, Jeffrey Masten, Robert McRuer , Madhavi Menon, Michael Moon, Paul Morrison, Andrew Nicholls, Kevin Ohi, Patrick R. O’Malley, Ann Pellegrini, Richard Rambuss, Valerie Rohy, Bethany Schneider, Kathryn Schwarz, Laurie Shannon, Ashley T. Shelden, Alan Sinfield, Bruce Smith, Karl Steel, Kathryn Bond Stockton, Amy Villarejo, Julian Yates

A NOVEL FOR OUR TIMES AND A RADICAL PROOF THAT “AMERICA WAS FABLE BEFORE IT BECAME FACT.” In the 1950s, a Puerto Rican Jew with roots in Leipzig and the Middle East lands in New York Harbor. So begins In the House Un-American, where Carlos ben Carlos Rossman, wannabe heir to the American poet William Carlos Williams and distant cousin of Kafka’s boy immigrant sensation Karl Rossman, is forever an absurdist stumble away from falling into a satirical wormhole. In his wanderings among Americans and “un-Americans,” Carlos leads us through a mirage of genres and historical lenses—memoirist fictions, essayistic stories, fables, anti-communist scripts. He comes to the Coney Island boardwalk only to arrive in his own mind at the shores of the Mediterranean. As he journeys from the golden age of Spain to the Statue of Liberty among East Coast Jewish Buddhist pilgrims going West, Carlos reinvents the rest of us as he remakes himself. In a Mecca of his own making in the heart of America, Carlos offers a prophetic new vision reconciling Islam and the American. In the House Un-American maps the continual transformation of where and who Carlos is and where America might someday arrive with him.

Xu Yi entered into a group of tyrannical, masochistic dog blood white cartoon, unfortunately, she is the villain acting as the all-round female partner, but the coquettish white lotus green tea can be scheming, acting the essence. In the end, he was sold to XX place by the Demonic Beast Man and suffered a miserable fate. Xu Wei went to sleep: I wanted to escape from the plot and live on, but the System refused. System Em: Daily Quest Announcement: Attracting the male lead (1/0) has not been completed. Punishment begins ....

(Applause Books). What does a "producer" actually do? How does one travel from that great idea for a show to a smash hit opening night on Broadway? John Breglio cannot guarantee you a hit, but he does take the reader on a fascinating journey behind-the-scenes to where he himself once stood as a child, dreaming about the theatre. Part memoir, part handbook, I Wanna Be a Producer is a road map to the hows and wherefores, the dos and don'ts of producing a Broadway play, written by a Broadway veteran with more than 40 years of experience. This comprehensive and highly informative book features practical analysis and concepts for the producer and is filled with entertaining anecdotes from Breglio's illustrious career as a leading theatrical lawyer and producer. Breglio recounts not only his first-hand knowledge of the crucial legal and business issues faced by a producer, but also his experiences behind the scenes with literally hundreds of producers, playwrights, composers, and directors, including such theatre luminaries as Michael Bennett, Joe Papp, Stephen Sondheim, Andrew Lloyd Webber, Patti Lupone, August Wilson, and Mel Brooks. Whether you are a working or aspiring producer, an investor, or are just curious about the backstage reality of the theater, Breglio shares his knowledge and experience of the industry, conveying practical information set against the real-life stories of those who have devoted their lives to the craft.