Stories on relations between men and women. In Why Richard Can't, a married man having an affair finds too many reasons not to leave his wife, Snakes is on coping with snakes in Florida, while in the title story a woman with cancer decides to experience adultery before she dies.

From a place where you don't have to run away to find yourself, this novel's young heroine, Berry, joins the ranks of other memorable and spirited girl narrators such as Bone in "Bastard Out of Carolina," Kaye Gibbon's Ellen Foster, Lily Owens in The Secret Life of Bees, and Scout from To Kill a Mockingbird.

While the battle over integration rages around them, Lucy Conyers of Tallahassee befriends the family of her maid, who lives on the other side of the tracks in a racially divided city.

The story of a college football coach--his rise and his fall--is narrated by his wife and the many other women who have played a key role in his life and reveals what the sport of football is really all about. Tour.

A big-hearted novel of a Southern woman’s trials and tribulations: “Kincaid’s voice is a true original” (Alice Hoffman). When Bobby died in a car wreck with another woman at his side, Verbena was left with five kids, a small house, and a big empty place in her heart. She did her best to pick up the pieces—and pick up where her husband left off, paying the mortgage, mowing the lawn, and raising her children so they’d turn out reasonably decent. Five years later, Bena’s got two daughters who have run off with no-good men, a backyard full of marijuana plants none of her kids will own up to, and a semi-personal relationship with Jesus. But she’s trying. And when she’s ready to fall in love again, she knows whom she wants: Lucky McKale. And despite the fact that he’s married, he seems to want her too, in this “touching account of a middle-aged widow who puts her life back together even more spectacularly than it came apart . . . A well-told and likable tale” (Kirkus Reviews). “Bena Eckerd has one of those fabulously unpredictable and noisy households that can both drive you crazy and make you sane again . . . Down-to-earth humor . . . and the nonstop plot twists keep us riveted to the adventures of her unruly clan and her messy search for love and meaning.” —Orlando Sentinel “Exuberant . . . Kincaid has a terrific knack for capturing Southern speech, customs, and characters.” —The Cincinnati Enquirer

El cine español contemporáneo (1990-2005) dedica mucha atención a la rememoración del pasado (Segunda República, la Guerra Civil, el período franquista,¿) y la realidad social (el paro, la violencia doméstica, inmigración, eutanasia,¿). Directores renombrados como Pedro Almodóvar, Alejandro Amenábar, Fernando León de Aranoa, Icíar Bollaín, o Isabel Coixet, muestran este interés dentro de sus miradas cinematográficas. La gran popularidad de este cine ha estimulado su migración en pantallas ajenas y dentro de contextos universitarios nacionales e internacionales. Este libro reúne unos veinte artículos, de investigadores americanos y europeos, que ilustran las múltiples tradiciones culturales en vigor dentro de los estudios cinematográficos, y que se enfocan al mismo tiempo en el tema central del libro: ¿Cómo se puede leer, la mirada de los autores españoles, sobre el pasado y el presente, dentro del contexto de su cine nacional?

American women writers have long been creating an extraordinarily diverse and vital body of fiction, particularly in the decades since World War II. Recent authors have benefited from the struggles of their predecessors, who broke through barriers that denied women opportunities for self-expression. This reference highlights American women writers who continue to build upon the formerly male-dominated canon. Included are alphabetically arranged entries for more than 60 American women writers of diverse ethnicity who wrote or published their most significant fiction after World War II. Each entry is written by an expert contributor and includes:^L^DBLA brief biography^L^DBLA discussion of major works and themes^^DBLA survey of the writer's critical reception^L^DBLA bibliography of primary and secondary sources

Mark Twain meets classic Stephen King -- a bold new direction for widely acclaimed Edgar Award winner Joe R. Lansdale. May Lynn was once a pretty girl who dreamed of becoming a Hollywood star. Now she's dead, her body dredged up from the Sabine River. Sue Ellen, May Lynn's strong-willed teenage friend, sets out to dig up May Lynn's body, burn it to ash, and take those ashes to Hollywood to spread around. If May Lynn can't become a star, then at least her ashes will end up in the land of her dreams. Along with her friends Terry and Jinx and her alcoholic mother, Sue Ellen steals a raft and heads downriver to carry May Lynn's remains to Hollywood. Only problem is, Sue Ellen has some stolen money that her enemies will do anything to get back. And what looks like a prime opportunity to escape from a worthless life will instead lead to disastrous consequences. In the end, Sue Ellen will learn a harsh lesson on just how hard growing up can really be.