"An engrossing biography about the marital breakdown of a major literary figure, of particular interest for what it reveals about O'Neill's creative process, activities, and bohemian lifestyle at the time of his early successes and some of his most interesting experimental work. In addition, King's discussion of Boulton's efforts as a writer of pulp fiction in the early part of the 20th century reveals an interesting side of popular fiction writing at that time, and gives insight into the lifestyle of the liberated woman." ---Stephen Wilmer, Trinity College, Dublin Biographers of American playwright Eugene O'Neill have been quick to label his marriage to actress Carlotta Monterey as the defining relationship of his illustrious career. But in doing so, they overlook the woman whom Monterey replaced---Agnes Boulton, O'Neill's wife of over a decade and mother to two of his children. O'Neill and Boulton were wed in 1918---a time when she was a successful pulp novelist and he was still a little-known writer of one-act plays. During the decade of their marriage, he gained fame as a Broadway dramatist who rejected commercial compromise, while she mapped that contentious territory known as the literary marriage. His writing reflected her, and hers reflected him, as they tried to realize progressive ideas about what a marriage should be. But after O'Neill left the marriage, he and new love Carlotta Monterey worked diligently to put Boulton out of sight and mind---and most O'Neill biographers have been quick to follow suit. William Davies King has brought Agnes Boulton to light again, providing new perspectives on America's foremost dramatist, the dynamics of a literary marriage, and the story of a woman struggling to define herself in the early twentieth century. King shows how the configuration of O'Neill and Boulton's marriage helps unlock many of O'Neill's plays. Drawing on more than sixty of Boulton's published and unpublished writings, including her 1958 memoir, Part of a Long Story, and an extensive correspondence, King rescues Boulton from literary oblivion while offering the most radical revisionary reading of the work of Eugene O'Neill in a generation. William Davies King is Professor of Theater at the University of California, Santa Barbara, and author of several books, most recently Collections of Nothing, chosen by Amazon.com as one of the Best Books of 2008. Illustration: Eugene O'Neill, Shane O'Neill, and Agnes Boulton ca. 1923. Eugene O'Neill Collection, Beinecke Rare Book and Manuscript Library, Yale University.

Agnes Boulton's memoir of her first two years of marriage to Eugene O'Neill was published in 1958, two years after the premiere of O'Neill's masterpiece, Long Day's Journey into Night. Contemporary critics dismissed the book as impressionistic, and it received little popular attention. Now held as a classic depicting one woman's strivings for self-representation, this new edition restores two sections previously excised for now-obsolete legal reasons. The new text features corrected misspellings and the addition of footnotes to clarify reference points and correct errors. Boulton's memoir represents an important addition to women's literature, as well as literary biography and autobiography.

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.

Your life tells a story. From beginning to end, your life creates a unique narrative, shaped by the wider stories you find yourself in. For many in the West, the stories that dominate our experience are those of happiness (‘just do what makes you happy’), safety (‘it’s not worth the risk’) and significance (‘I want to be remembered’). But what if these stories are too small to really matter? Exploring the importance such stories play in our lives, Andy Frost, Director of Share Jesus International, presents an alternative narrative – the God Story. Long Story Short invites readers to find their place in the only story big enough to live for. ‘This book is invaluable for discovering, or finding again, your story.’ Tim Hughes ‘Andy encourages us to discover a greater narrative that ultimately helps us to find the real meaning for our existence.’ Lou Fellingham About the author: Andy Frost is Director of Share Jesus International and is responsible for kick-starting a variety of projects that help the Church to communicate the story of Jesus. He is a popular speaker and the author of a number of books, and has presented Jesus. The Series. He is married to Jo and they have two daughters. Currently living in London, Andy loves travelling the world, surfing good waves, pushing himself in physical challenges and eating Mexican food. Follow him on Twitter @andythefrosty

A Long Time Coming...The Ulysses Long Story By Ulysses Long with Chris Warner One fleeting moment can derail a life. A youthful mistake that netted him $6.50 ultimately bore a 130-year prison sentence. In 1968, Ulysses Long was 25. An honorably discharged Air Force veteran of three years, he was a free spirit on the streets of New Orleans, hanging out on corners, chasing girls and good times. He was young and extremely naïve. An emotional roller coaster ride, the Ulysses Long Story follows Ulysses from the bustling New Orleans riverfront docks to the perilous prison conditions of Angola State Penitentiary, and finally to Baton Rouge--the viper pit of Louisiana politics. Ulysses maintained a sense of right throughout his time among the brutal social circles of the Angola State Penitentiary. He persevered to freedom through the twisted, bureaucratic manipulations of a racist judicial system during a time when Louisiana was reluctant to make the United States Constitution work for blacks. Ulysses survived his tortuous twenty-year odyssey through uncanny personal strength. Anger at the incredible odds against him would have been understandable. And yet, anger did not fuel his crusade for freedom, nor does bitterness taint his story. Hope is the main character. In time, Long finds faith and friendship in an unlikely knight, LSU Basketball Coach Dale Brown, that leads to his eventual pardon by Louisiana Governor Edwin Edwards. The subject of a forthcoming George Soros Open Society Institute documentary titled, New Orleans Justice (N.O. Justice), the Ulysses Long Story is a fascinating tale of corruption, greed, fear and faith. This is not a scared straight story. It s an honest lesson in personal responsibility, a lasting testament of human faith, and an indelible tribute to the ultimate power of hope.

The author recalls growing up with her father, Shane, the disowned son of playwright Eugene O'Neill.

"As . . . newer approaches [to biblical criticism] become more established and influential, it is essential that students and other serious readers of the Bible be exposed to them and become familiar with them. That is the main impetus behind the present volume, which is offered as a textbook for those who wish to go further than the approaches covered in To Each Its Own Meaning by exploring more recent or experimental ways of reading." „from the introduction This book is a supplement and sequel to To Each Its Own Meaning, edited by Steven L. McKenzie and Stephen R. Haynes, which introduced the reader to the most important methods of biblical criticism and remains a widely used classroom textbook. This new volume explores recent developments in, and approaches to, biblical criticism since 1999. Leading contributors define and describe their approach for non-specialist readers, using examples from the Old and New Testament to help illustrate their discussion. Topics include cultural criticism, disability studies, queer criticism, postmodernism, ecological criticism, new historicism, popular culture, postcolonial criticism, and psychological criticism. Each section includes a list of key terms and definitions and suggestions for further reading.