Something funny’s going on in Louisiana’s backwoods . . . Someone in LaGrange has stirred up something truly evil. From beyond, demonic messengers emerge out of the fires of Hell itself, to ignite an orgy of chaos, murder, and bloody destruction. But the Devil was the only one laughing . . . Town veterinarian Link Donovan (former CIA) and Sheriff Ray Ingalls have grave premonitions that the ungodly laughter they heard echoing through the woods meant this was only the beginning. Once they root out the rich folk whose meddling released the minions of Satan, they recruit a band of God-fearing locals like themselves ready to battle—and obliterate—whatever face of evil dares to cross their paths.

Details the lives of three women in Brooklyn--Disaya, Jada, and Londa--trying to find their way out of their troubles by any means possible.

The true story behind the 'Fatty Arbuckle' Scandal David Yallop is no stranger to controversy. The impact of his investigations in such bestsellers as In God's Name, Beyond Reasonable Doubt and To Encourage the Others has reverberated around the world. In The Day the Laughter Stopped, he uncovers the incredible true story behind the Roscoe 'Fatty' Arbuckle scandal of 1921, when the fat film comedian stood accused of the rape and murder of a pretty screen actress. Arbuckle's is the story of a man born in extreme poverty who was destined to rise to the heights of a multi-million dollar career, only to have it snatched from him by a wave of hysteria and bigotry that swept the globe. It is the story of Hollywood and what really happened in the corridors of power; the political corruption of San Francisco; the immorality of a president. How Charlie Chaplin's career was saved. How Buster Keaton's was begun. Both by Arbuckle. It is a life story that ranges from comic heights to tragic depths. The Day the Laughter Stopped confirms David Yallop's reputation as the world's greatest investigative author, combining exhaustive research with compulsive narrative.

A former slave embarks on a hellish journey through the post-Civil War South to reunite with his wife, in this novel by the Pulitzer Prize–winning author. With the news of General Lee’s surrender, Sam, a runaway slave who served in the Union Army, decides to leave his refuge in Philadelphia. He sets out on foot on an almost-suicidal journey through the terrifying, war-torn South to Buford, Mississippi, to find Tilda, the wife he was sold away from fifteen years ago. He knows quite well that his chances are slim . . . Prudence Kent, meanwhile, is heading to Buford on a different mission. The headstrong, wealthy, white war widow is leaving her Boston home to honor her abolitionist father’s dying wish: to open a school for the emancipated slaves . . . And Tilda is headed elsewhere. Her owner, Jim McFarland, is holding her at gunpoint, forcing through the charred remains of his farm and off to Arkansas, in search of a haven that will still respect his entitlements as a slaveowner and Confederate officer . . . An epic, American love story and novel touching on issues we still wrestle with long after official end of the Civil War, Freeman is, as Howard Frank Mosher of the Washington Post writes, “an important addition to the literature of slavery and the Civil War, by a knowledgeable, compassionate and relentlessly truthful writer determined to explore both enslavement in all its malignancy and also what it truly means to be free.” Perfect for fans of Cold Mountain Praise for Freeman “Leonard Pitts has a passion for history and a gift for storytelling. Both shine in this story of love and redemption, which challenges everything we thought we knew about how our nation dealt with its most stubborn stain.” —Gwen Ifill, PBS, author of The Breakthrough “Columnist Leonard Pitts turns out a pretty powerful love story.” —Audie Cornish, All Things Considered “Pulitzer Prize–winning columnist Pitts once again demonstrates his gift for historical fiction . . . . In lyrical prose, Pitts unflinchingly and movingly portrays the period’s cruelties, and triumphs in capturing the spirit of the times through eminently-identifiable lead characters.” —Publishers Weekly, starred review

Action-packed and absorbing, a grim but sensitive picture of race and identity in America

Asserts that humor is a form of resistance and a means of psychological survival in threatening situations, and has always been cultivated especially by Jews. Cites reports of humor by both Jews and non-Jews in Nazi Germany and occupied Europe, in the ghettos and the concentration camps, and quotes many jokes. also surveys anti-Nazi jokes, cartoons, and satirical books and films issued abroad and after the war.

In part 3 of the dramatic Never Again, No More Series, Trinity, LaMeka, Lucinda, and Charice are back with brand new drama. Although they seem to have escaped their pasts, they find out saying never again, no more is easier said than done. Slowly but surely, these ladies' past trials begin to stir up trouble in their current situations. The karma is brewing, and new hot tea is prepared to be served by way of former lovers, love children, and deeply rooted secrets. What will happen when the women and men are forced to face the drama they've stirred?

Black women comedians are more visible than ever, performing around the world in physical venues like comedy clubs and festivals, along with appearing in films, streaming specials, and online videos. Across these mediums, humor—and particularly sass—functions as a tool for Black women to articulate and redress cultural, social, and political marginalization. J Finley theorizes sass as a new critical lens to better understand the power of Black women's humor and humanity and explores how sass functions as a powerful resource in Black women's expressive repertoire. Challenging mainstream assumptions about "sassiness" as an identity or personality trait to which Black women humorists may be reduced, Finley deploys sass to create a new genre of discourse for understanding the ways in which Black women use language, style, gesture, and intent to produce meaning—often humorous—in speaking back to authority. Grounded in an ethnographic approach to Black women's experiences, Finley conducted extensive interviews as well as participant-observation as a critic, audience member, and comic herself to collect and honor the stories that Black women comics tell about themselves. Interdisciplinary and conceptually rigorous, Finley's work shows us how we can and should read Black women's expressions of sass in humor as attempts at social transformation that involve a fundamental critique of power and authority, and a gesture at collective liberation.

Quevedo and the grotesque / J. Iffland.-v.2

"Rusty Bruce was not born a good player, he became one". These words perfectly puts into the picture the man who made sure to always treat life as a gift, step to the fore, and make a difference. In JB Mantill's, To The Fore', readers can come across Rusty Bruce, a man of great honour, dignity and compassion. His life peppered with grief, Rusty Bruce takes up social golf so as he can get away' from life for a few hours a week. Despite his sadness and with the help of his friends, Rowdy, Bake and Bob, he channels down his grief into taking his golf to the next level after inadvertently winning a chance to compete with the professionals in America. Waiting for a flight at New York he meets ten year old Tim and his parents, who themselves are going through a tough time, and after hearing their story he decides to help try and change their lives for the better. Heart warming and uplifting, To the Fore' is a story of not allowing the harsh realities and struggles of life get in the way of living and making a difference.