Fake it so Real takes on the fallout from a punk-rock lifestyle--the future of "no future"--and its effect on the subsequent generations of one family. In June of 1983, Gwen, a gnarly Nancy Spungen lookalike, meets Damian, the enigmatic leader of a punk band. Seven years and two unplanned pregnancies later, Damian abandons Gwen, leaving her to raise their two daughters, Sara and Meg, on her own. The fourteen stories that make up this book usher Gwen and her daughters through five decades, haunted by Damian's ghost. Fuelled by vodka and scrappy determination, Gwen balances a responsibility to her daughters with her narcissistic, self-destructive tendencies. Sara and Meg scramble through adolescence and enter adulthood walking the line between selfishness and self-sacrifice, attempting to avoid their parents' mistakes, all the while making a whole new set of mistakes of their own. In the voices of Gwen, Damian, Sara, Meg, Damian's bandmate and Gwen's true love, these stories weave a raw and honest tapestry of family life as told from the underbelly, focused on the grey area between right and wrong, the idea that we are all equally culpable and justified in our actions, and the pain and ecstasy that accompany a life lived authentically.

A teen plunges into a downward spiral of addiction in this classic cautionary tale. January 24th After you’ve had it, there isn't even life without drugs… It started when she was served a soft drink laced with LSD in a dangerous party game. Within months, she was hooked, trapped in a downward spiral that took her from her comfortable home and loving family to the mean streets of an unforgiving city. It was a journey that would rob her of her innocence, her youth—and ultimately her life. Read her diary. Enter her world. You will never forget her. For thirty-five years, the acclaimed, bestselling first-person account of a teenage girl’s harrowing decent into the nightmarish world of drugs has left an indelible mark on generations of teen readers. As powerful—and as timely—today as ever, Go Ask Alice remains the definitive book on the horrors of addiction.

Having faked his way into the Music and Art Academy, a performing arts school for gifted students where his talented older sister rules, sixth-grader Jake, a jokester who can barely play an instrument, will have to think of something quick before the last laugh is on him.

When a grumpy athlete's grandma tries to play matchmaker, he turns to a jilted bride who desperately needs to NOT fall in love to play his fake girlfriend.

We live in a world of fakers. Rather than being real with each other, we present a carefully crafted persona that hides our faults and magnifies our good qualities. But inside we long to be loved, warts and all. We long to stop hiding from each other--and especially from God. With candor and clarity, pastor Rick Bezet calls readers to a life built on authenticity, showing that the way to true freedom lies through reclaiming our hearts, reviving our souls, and renewing our minds in light of what God has done for us through Jesus Christ. Through biblical stories and (often funny) personal examples, Bezet encourages readers to live with passion, integrity, and perseverance. He releases readers from the spiritual death that comes with pretending and leads them into a new life characterized by transparency rather than fear.

The new standard in jazz fake books since 1988. Endorsed by McCoy Tyner, Ron Carter, Dave Liebman, and many more. Evenly divided between standards, jazz classics and pop-fusion hits, this is the all-purpose book for jazz gigs, weddings, jam sessions, etc. Like all Sher Music fake books, it features composer-approved transcriptions, easy-to-read calligraphy, and many extras (sample bass lines, chord voicings, drum appendix, etc.) not found in conventional fake books.

Fake. That's what we are. That's what we agreed to be. So why does it feel so real? I thought it would have been harder, convincing everyone our school's star receiver was mine and mine alone, but I was wrong. We played our parts so well that the lines between us began to blur until they disappeared completely. The thing about pretending, though, someone's always better at it, and by the time I realized my mistake, there was no going back. I fell for our lie. And then everything fell apart. It turned out he and I were never playing the same game. He didn't have to break me to win. But he did it anyway.

In a political moment when social panics over literature are at their peak, Dangerous Fictions is a mind-expanding treatise on the nature of fictional stories as cultural battlegrounds for power. Fictional stories have long held an uncanny power over hearts and minds, especially those of young people. In Dangerous Fictions, Lyta Gold traces arguments both historical and contemporary that have labeled fiction as dark, immoral, frightening, or poisonous. Within each she asks: How “dangerous” is fiction, really? And what about it provokes waves of moral panic and even censorship? Gold argues that any panic about art is largely a disguised panic about power. There have been versions of these same fights over fiction for centuries. By exposing fiction as a social danger and a battleground of immediate public concern, we can see what each side really wants—the right to shape the future of a world deeply in flux and a distraction from more pressing material concerns about money, access, and the hard work of politics. From novels about people driven insane by reading novels to “copaganda” TV shows that influence how viewers regard the police, Gold uses her signature wit, research, and fearless commentary to point readers toward a more substantial question: Fiction may be dangerous to us, but aren’t we also dangerous to it?

This book is about the intrusive fear that we may not be what we appear to be, or worse, that we may be only what we appear to be and nothing more. It is concerned with the worry of being exposed as frauds in our profession, cads in our love lives, as less than virtuously motivated actors when we are being agreeable, charitable, or decent. Why do we so often mistrust the motives of our own deeds, thinking them fake, though the beneficiary of them gives us full credit? Much of this book deals with that self-tormenting self-consciousness. It is about roles and identity, discussing our engagement in the roles we play, our doubts about our identities amidst this flux of roles, and thus about anxieties of authenticity.

Walt Disney World is a pilgrimage site filled with utopian elements, craft, and whimsy. It’s a pedestrian’s world, where the streets are clean, the employees are friendly, and the trains run on time. All of its elements are themed, presented in a consistent architectural, decorative, horticultural, musical, even olfactory tone, with rides, shows, r