In the mid-1950s, the town of Lacey in the Mississippi hill country is a place where the lives of blacks and whites, though seemingly separate, are in fact historically and inevitably intertwined. When Lacey's fair-haired boy, Duncan Harper, is appointed interim sheriff, he makes public his private convictions about the equality of blacks before the law, and the combined threat and promise he represents to the understood order of things in Lacey affects almost every member of the community. In the end, Harper succeeds in pointing the way for individuals, both black and white, to find a more harmonious coexistence, but at a sacrifice all must come to regret. In The Voice at the Back Door, Mississippi native Elizabeth Spencer gives form to the many voices that shaped her view of race relations while growing up, and at the same time discovers her own voice -- one of hope. Employing her extraordinary literary powers -- finely honed narrative techniques, insight into a rich, diverse cast of characters, and an unerring ear for dialect -- Spencer makes palpable the psychological milieu of a small southern town hobbled by tradition but lurching toward the dawn of the civil rights movement. First published in 1956, The Voice at the Back Door is Spencer's most highly praised novel yet, and her last to treat small-town life in Mississippi.

In the mid-1950s, the town of Lacey in the Mississippi hill country is a place where the lives of blacks and whites, though seemingly separate, are in fact historically and inevitably intertwined. When Lacey's fair-haired boy, Duncan Harper, is appointed interim sheriff, he makes public his private convictions about the equality of blacks before the law, and the combined threat and promise he represents to the understood order of things in Lacey affects almost every member of the community. In the end, Harper succeeds in pointing the way for individuals, both black and white, to find a more harmonious coexistence, but at a sacrifice all must come to regret. In The Voice at the Back Door, Mississippi native Elizabeth Spencer gives form to the many voices that shaped her view of race relations while growing up, and at the same time discovers her own voice -- one of hope. Employing her extraordinary literary powers -- finely honed narrative techniques, insight into a rich, diverse cast of characters, and an unerring ear for dialect -- Spencer makes palpable the psychological milieu of a small southern town hobbled by tradition but lurching toward the dawn of the civil rights movement. First published in 1956, The Voice at the Back Door is Spencer's most highly praised novel yet, and her last to treat small-town life in Mississippi.

Beyond the Black Door is a young adult dark fantasy about unlocking the mysteries around and within us—no matter the cost... Everyone has a soul. Some are beautiful gardens, others are frightening dungeons. Soulwalkers—like Kamai and her mother—can journey into other people's souls while they sleep. But no matter where Kamai visits, she sees the black door. It follows her into every soul, and her mother has told her to never, ever open it. When Kamai touches the door, it is warm and beating, like it has a pulse. When she puts her ear to it, she hears her own name whispered from the other side. And when tragedy strikes, Kamai does the unthinkable: she opens the door. A.M. Strickland's imaginative dark fantasy features court intrigue and romance, a main character coming to terms with her asexuality, and twists and turns as a seductive mystery unfolds that endangers not just Kamai's own soul, but the entire kingdom ... An Imprint Book “I couldn’t put down this deliciously dark dream of a fantasy.” —New York Times bestselling author Lisa Maxwell “A dark delight, gorgeously written and as twisty and enigmatic as a labyrinth at twilight. I wanted to stay lost in its pages forever, wandering ever deeper into the maze of Strickland’s beguiling, intricately imagined world.” —Margaret Rogerson, New York Times bestselling author of An Enchantment of Ravens

IF YOU WANT TO GET THOSE HIGH, LOUD NOTES THAT THE WINNERS OF THE TV SINGING CONTESTS ALWAYS SEEM TO HAVE, YOU'VE COME TO THE RIGHT PLACE. With a groundbreaking vocal method, veteran singer, coach, and teacher Meredith Colby shows how any singer can "go through the back door" to quickly achieve the singing results they want. Drawing on contemporary brain research and applying similar neurology theories to those found in sports instruction and physical rehabilitation, Neuro-Vocal Method exploits the innate tendencies of the brainboth to steer changes in singing and to be guided by changes as they occur.

A dazzling and devastating memoir exploring breakdown and obsessive love, in a voice unlike any other

'An open door to the joyous world of singing.' - Cerys Matthews Singing is one thing, but singing together is something else. Powerful and uplifting, group singing creates deep human connections and benefits our wellbeing. And it's fun. Vocal leader James Sills believes that group singing has the power to change lives. It is a joyful expression of our humanity that gives us purpose, encourages us to be fully present, and helps foster social bonds. In Do Sing, James invites us to reflect on our own singing journey. Was there a time when you stopped singing, or were told you couldn't sing? Do certain songs trigger happy memories? With exercises to help unlock your voice, improve breathing, release tension, and a few simple songs to get started, Do Sing will help you to overcome (often deep-rooted) inhibitions and reawaken a love of singing. Do Sing is a welcome remedy to the demands of modern life – and an invitation to experience the joy of group singing for yourself.

“A sharp, funny, and eccentric debut … Pond makes the case for Bennett as an innovative writer of real talent. … [It]reminds us that small things have great depths.”–New York Times Book Review "Dazzling…exquisitely written and daring ." –O, the Oprah Magazine Immediately upon its publication in Ireland, Claire-Louise Bennett’s debut began to attract attention well beyond the expectations of the tiny Irish press that published it. A deceptively slender volume, it captures with utterly mesmerizing virtuosity the interior reality of its unnamed protagonist, a young woman living a singular and mostly solitary existence on the outskirts of a small coastal village. Sidestepping the usual conventions of narrative, it focuses on the details of her daily experience—from the best way to eat porridge or bananas to an encounter with cows—rendered sometimes in story-length, story-like stretches of narrative, sometimes in fragments no longer than a page, but always suffused with the hypersaturated, almost synesthetic intensity of the physical world that we remember from childhood. The effect is of character refracted and ventriloquized by environment, catching as it bounces her longings, frustrations, and disappointments—the ending of an affair, or the ambivalent beginning with a new lover. As the narrator’s persona emerges in all its eccentricity, sometimes painfully and often hilariously, we cannot help but see mirrored there our own fraught desires and limitations, and our own fugitive desire, despite everything, to be known. Shimmering and unusual, Pond demands to be devoured in a single sitting that will linger long after the last page.

"I was the one he trusted. I was the one he loved, the only one who believed him, even when his own mother had locked him up and thrown away the key. And now, I was going to pass down the white tiled hallway, knock on his doctor's office door, slam his secret notebook on her desk and make her read it, make her understand what he was hiding, make her see what only I had seen." April won't let Jonah go without a fight. He's her boyfriend—her best friend. She'll do anything to keep him safe. But as Jonah slips into a dark depression, trying to escape the traumatic past that haunts him, April is torn. To protect Jonah, she risks losing everything: family, friends, an opportunity to attend a prestigious music school. How much must she sacrifice? And will her voice be loud enough to drown out the dissenters—and the ones in his head?

A groundbreaking portrait of Kerouac as a young artist—from the award-winning author of Minor Characters In The Voice is All, Joyce Johnson, author of her classic memoir, Door Wide Open, about her relationship with Jack Kerouac, brilliantly peels away layers of the Kerouac legend to show how, caught between two cultures and two languages, he forged a voice to contain his dualities. Looking more deeply than previous biographers into how Kerouac’s French Canadian background enriched his prose and gave him a unique outsider’s vision of America, she tracks his development from boyhood through the phenomenal breakthroughs of 1951 that resulted in the composition of On the Road, followed by Visions of Cody. By illuminating Kerouac’s early choice to sacrifice everything to his work, The Voice Is All deals with him on his own terms and puts the tragic contradictions of his nature and his complex relationships into perspective.