Vagabond Blues is an insiders’ peek at minor league football in the early 1980’s where Robbie Santos, a young man with big league aspirations, is thrust into a world with NFL castaways, Vietnam Vets, drunks and drug-users who are all trying with frantic efforts to rise above the decadence and be noticed. Over the course of one season playing with the defending Minor League Football Champion Sumpter City Cougars, Robbie is forced to make decisions that could compromise his ideals, his football career, and his future. “Beneath the riotous fun of this novel is an underlying sadness of desperation.” Ron mix, NFL Hall of Fame Offensive lineman with the San Diego Chargers. Member of the Sports Illustrated All-Century Team

After three years of research, McGinniss presents his already controversial and much anticipated investigative chronicle of Sarah Palin as an individual, politician, and cultural phenomenon.

The only guide to feature the destinations in Alaska accessible by rail, car and ferry written by an author who grew up in Alaska and continues to live there today.

Four-time Hugo Award-winning and New York Times bestselling author N.K. Jemisin crafts a glorious tale of identity, resistance, magic and myth. All is not well in the city that never sleeps. Even though the avatars of New York City have temporarily managed to stop the Woman in White from invading—and destroying the entire universe in the process—the mysterious capital "E" Enemy has more subtle powers at her disposal. A new candidate for mayor wielding the populist rhetoric of gentrification, xenophobia, and "law and order" may have what it takes to change the very nature of New York itself and take it down from the inside. In order to defeat him, and the Enemy who holds his purse strings, the avatars will have to join together with the other Great Cities of the world in order to bring her down for good and protect their world from complete destruction. N.K. Jemisin’s Great Cities Duology, which began with The City We Became and concludes with The World We Make, is a masterpiece of speculative fiction from one of the most important writers of her generation. The Great Cities Duology The City We Became The World We Make

Endorsed by Minor League Football News and NFL Hall-of-Famers as "realistic" and "riotous."

An emotional exploration of the Philippines, these novels illustrate the connection between a people and their beloved native land. The first novel, Killing Time in a Warm Place, is based in part on the author's own experiences as a student protester and his subsequent capture, imprisonment, and torture during the Marcos dictatorship. His subsequent assimilation to a new society as a speechwriter for the government is depicted, followed by his self-imposed exile to the United States and his eventual return to the islands upon the death of his father, where he is forced to confront past betrayals. The second tale, Soledad’s Sister, delves into the dark side of immigrant and outsourced labor that is endemic worldwide. Following the mysterious death of a young Filipina woman working as an au pair in Saudi Arabia, the narrative chronicles a local policeman’s search to claim her body, locate her next of kin, and give her a proper burial in her native soil. With deep insight into contemporary Philippine culture, this collection captures a nation attempting to reinvent itself in the eyes of the world.

There are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? Shaping Jazz answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz. Damon Phillips considers why places like New York played more important roles as engines of diffusion than as the sources of standards. He demonstrates why and when certain geographical references in tune and group titles were considered more desirable. He also explains why a place like Berlin, which produced jazz abundantly from the 1920s to early 1930s, is now on jazz's historical sidelines. Phillips shows the key influences of firms in the recording industry, including how record companies and their executives affected what music was recorded, and why major companies would rerelease recordings under artistic pseudonyms. He indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity. Applying fascinating ideas about market emergence to a music's commercialization, Shaping Jazz offers a unique look at the origins of a groundbreaking art form.

Charles Burnett (b. 1944) is a groundbreaking African American filmmaker and one of this country’s finest directors, yet he remains largely unknown. His films, most notably Killer of Sheep (1977) and To Sleep with Anger (1990), are considered classics, yet few filmgoers have seen them or heard of Burnett. The interviews in this volume explore this paradox and collectively shed light on the work of a rare film master whose stories bring to the screen the texture and poetry of life in the black community. The best qualities of Burnett’s films-rich characterizations, morally and emotionally complex narratives, and intricately observed tales of African American life-are precisely the things that make his films a tough sell in the mass marketplace. As many of the interviews reveal, Hollywood has been largely inept in responding to this marketing challenge. “It takes an extraordinary effort to keep going,” Burnett told Terrence Rafferty in 2001, “when everybody’s saying to you, ‘No one wants to see that kind of movie,’ or ‘There’s no black audience.’” All the interviews selected for this volume—spanning more than three decades of Burnett’s directorial career, including his recent work—examine, in various degrees, Burnett’s status as a true independent filmmaker and explore his motivation for making films that chronicle the black experience in America.

From award-winning author Gary A. Braunbeck comes Prodigal Blues, his first foray into non-supernatural horror. After he finds himself stranded at a truck stop in Missouri, Mark Sieber gets one of the biggest shocks of his life when he recognizes the face of a little girl on a Missing poster as belonging to the same little girl he saw only a few minutes before. Looking around for some sign of her, he comes back to his table in the restaurant to find the little sitting there, waiting for him. "I'm sorry, mister," is all she seems capable of saying. As the police and media begin to converge on the truck stop, Mark retreats back to his hotel room to call his wife and let her know what's going on, only to be taken hostage by the same people who released the little girl. But his abductors are little more than children themselves. Ranging in ages from 12 to 19, Mark's abductors are in the process of escaping from a sadistic pedophile known to them only as "Grendel" a man whose practices include torture and mutilation specifically, mutilation of the face. Mark's abductors have all been mutilated by Grendel who may be very close behind them and need someone with a "normal face" to help them carry out their plan for justice and returning home. For the next few days, Mark will come to understand not only the inhuman horror that these children have suffered, but how they eventually learned to fight back and how they discovered that Grendel and his practices are at the center of a very complex network catering to those who tastes run toward the molestation and mutilation of children. Prodigal Blues is perhaps Braunbeck's most suspenseful and emotionally powerful work to date; a story of suffering, depravity, redemption, and in the end the individual's compassion for his or her fellow human beings that can lead some people to finding reserves of courage and determination they never thought they possessed. Terrifying, suspenseful, sometimes surprisingly funny, and ultimately moving, Prodigal Blues is quintessential Braunbeck.