The shattering novel of underground life the New York Times called “a cry of rapture and horror . . . the purest lyrical genius.” Jean Genet’s debut novel Our Lady of the Flowers, which is often considered to be his masterpiece, was written entirely in the solitude of a prison cell. A semi- autobiographical account of one man’s journey through the Paris demi-monde, dubbed “the epic of masturbation” by no less a figure than Jean-Paul Sartre, the novel’s exceptional value lies in its exquisite ambiguity.

One of history’s most complex and alluring women comes to life in this classic novel by the legendary Jean Plaidy. Young Anne Boleyn was not beautiful but she was irresistible, capturing the hearts of kings and commoners alike. Daughter of an ambitious country lord, Anne was sent to France to learn sophistication, and then to court to marry well and raise the family’s fortunes. She soon surpassed even their greatest expectations. Although his queen was loving and loyal, King Henry VIII swore he would put her aside and make Anne his wife. And so he did, though the divorce would tear apart the English church and inflict religious turmoil and bloodshed on his people for generations to come. Loathed by the English people, who called her “the King’s Great Whore,” Anne Boleyn was soon caught in the trap of her own ambition. Political rivals surrounded her at court and, when she failed to produce a much-desired male heir, they closed in, preying on the king’s well-known insecurity and volatile temper. Wrongfully accused of adultery and incest, Anne found herself imprisoned in the Tower of London, where she was at the mercy of her husband and of her enemies.

The first study of the role of the newspaperwoman in American literary culture at the turn of the twentieth century, this book recaptures the imaginative exchange between real-life reporters like Nellie Bly and Ida B. Wells and fictional characters like Henrietta Stackpole, the lady-correspondent in Henry James's Portrait of a Lady. It chronicles the exploits of a neglected group of American women writers and uncovers an alternative reporter-novelist tradition that runs counter to the more familiar story of gritty realism generated in male-dominated newsrooms. Taking up actual newspaper accounts written by women, fictional portrayals of female journalists, and the work of reporters-turned-novelists such as Willa Cather and Djuna Barnes, Jean Marie Lutes finds in women's journalism a rich and complex source for modern American fiction. Female journalists, cast as both standard-bearers and scapegoats of an emergent mass culture, created fictions of themselves that far outlasted the fleeting news value of the stories they covered. Front-Page Girls revives the spectacular stories of now-forgotten newspaperwomen who were not afraid of becoming the news themselves—the defiant few who wrote for the city desks of mainstream newspapers and resisted the growing demand to fill women's columns with fashion news and household hints. It also examines, for the first time, how women's journalism shaped the path from news to novels for women writers.

A stage play based on actual events. In the summer of 1922, Harry Houdini and Sir Arthur Conan Doyle team to investigate psychic mediums for the Scientific American committee. Their friendship is challenged when Conan Doyle champions a beautiful and seductive psychic as authentic. Houdini is determined to prove that she is a phony, until she apparently contacts Houdini's beloved dead mother, and he must confront his own beliefs about life-after-death.