Vito and Pat are best friends. They live across the street from each other and do everything together. They play catch, build forts, and ride bikes. Today appears to be a day just like any other day, but it is a special day. Vito and Pat set out on their bikes just to enjoy the beautiful weather in their neighborhood, but will soon learn how extraordinary moments can happen on the most simplest of days.

From the Byzantine world of city politics to drag show night clubs and feuds among secretive groups of people gifted with unusual and frightening abilities. Familiar Scents takes us on a journey into a hidden world filled with clues scattered about a maze of violence, death, and power struggles. Guided by Anthony Patronio, an androgynous man with a powerful gift, Detective Carl Steckler must solve the murder of a young woman. During the investigation, hidden truths come out about his long-lost sister and the cause of his non-existent sexual desires.

How dull plays are killing theatre and what we can do about it. Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer gut he’d become. There were of course those rare moments of transcendencethat kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination. ‘[Tannahill is] the poster child of a new generation of (theatre? film? dance?) artists for whom "interdisciplinary" is not a buzzword, but a way of life.’ —J. Kelly Nestruck, Globe and Mail ‘Jordan is one of the most talented and exciting playwrights in the country, and he will be a force to be reckoned with for years to come.’ —Nicolas Billon, Governor General's Award–winning playwright (Fault Lines)

For author Vito A. Lepore, the years between 1950 and 1959 were the most important of his life. Decisions were made that affected the coming years, and his character became defined. In Vito's Journey II, he picks up where part one of his memoir, Vito's Journey, leaves off but with a different focus. The first book introduced family members and told stories of a boy's transition from Italy to America. Vito's Journey II begins with his first step out into an adult world and journeys through the stages that follow. Told in a series of entertaining vignettes, the stories include: his foray into baseball, the night Nunzio was kidnapped, a taste of the Italian personality, life in the military, a night in jail, and his first full-time adult job. There is also a climactic court sequence. In Vito's Journey II, Lepore communicates the lessons he learned throughout his life. Whether it's boyhood or adulthood, life is a never-ending series of crossroads, some by accident and some by design. Your life can change on any given day. It then follows that there is no such thing as a last chance, and that failure is part of the learning process.

Join Vito on his life's journey, a very bumpy ride, as he transitions from an ancient small town in Southern Italy to America, as seen through his eyes. The early years, the coming to America just befor WWII, the first traffic light at age nine, living in the Bronx, school and sports, the first kiss; Experiences that are sometimes happy, sometimes sad, sometimes puzzling, but always entertaining. The separate chapter on the favorite family stories is particularly funny, and you'll love Mikey and uncle Larry. It has elements of an Italian version of Alex Haley's "Roots", together with experiences that Dennis the Menace might have, if he ever decides to grow older, It is intended to also stimulate the reader's interest in their own family history.

A study of the partnership between the thirty-seventh President and his wife argues that the couple endured political and intimate disappointments during their fifty-three-year marriage but ultimately shared genuine affection.

In an elegant affirmation of human capacity and creativity, Patricia Carini counters high-stakes testing, the pathologizing of children, and the unrelenting critique of the public schools with a persuasive account of how children, all children, actively make sense of the world and their experience through the making of works such as drawings, constructions, and writings. This engaging and vivid account of the day-to-day possibilities of learning and teaching, and ultimately the remaking of the schools, is indispensable reading for anyone called to teach or committed to a liberating education for all children. “This is a beautifully written book. I am inspired with each page.” —Vito Perrone, Harvard University "In this precious book by one of our most powerful thinkers, Pat Carini takes us deep, deep into the lives of children, into classrooms and schools, into the human heart of education at its best.” —William Ayers, University of Illinois at Chicago “A thoughtful book that challenges us to embrace an expansive vision of education. Throughout this powerful collection of essays, Pat Carini reminds us to place the value of each individual at the center of all we do in schools." —Judy Buchanan, National Writing Project “In this book, Carini draws on children’s and teachers’ stories, poetry, and philosophy as she attends to making visible for the reader the humanness of education." —Ofelia García, Dean, School of Education, Long Island University