"The Royal Nonesuch" is the story of Phillips's rollercoaster ride through the twisted world of underground Hollywood and the funhouse of the Internet during the boom.

A beautifully written, darkly funny coming-of-age story from an award-winning, bestselling German author making his American debut. Mike Klingenberg doesn't get why people think he's boring. Sure, he doesn't have many friends. (Okay, zero friends.) And everyone laughs at him when he reads his essays out loud in class. And he's never invited to parties - including the gorgeous Tatiana's party of the year.Andre Tschichatschow, aka Tschick (not even the teachers can pronounce his name), is new in school, and a whole different kind of unpopular. He always looks like he's just been in a fight, his clothes are tragic, and he never talks to anyone.But one day Tschick shows up at Mike's house out of the blue. Turns out he wasn't invited to Tatiana's party either, and he's ready to do something about it. Forget the popular kids: Together, Mike and Tschick are heading out on a road trip. No parents, no map, no destination. Will they get hopelessly lost in the middle of nowhere? Probably. Will meet some crazy people and get into serious trouble? Definitely. But will they ever be called boring again? Not a chance.

Adventures of Huckleberry Finn (often shortened to Huck Finn) is a novel written by American humorist Mark Twain. It is commonly used and accounted as one of the first Great American Novels. It is also one of the first major American novels written using Local Color Regionalism, or vernacular, told in the first person by the eponymous Huckleberry "Huck" Finn, best friend of Tom Sawyer and hero of three other Mark Twain books.The book is noted for its colorful description of people and places along the Mississippi River. By satirizing Southern antebellum society that was already a quarter-century in the past by the time of publication, the book is an often scathing look at entrenched attitudes, particularly racism. The drifting journey of Huck and his friend Jim, a runaway slave, down the Mississippi River on their raft may be one of the most enduring images of escape and freedom in all of American literature.

Classics for children

An “entertaining and profoundly original” (San Francisco Chronicle) moving and hilarious tale of two friends who fly around the world trying to give away a lot of money and free themselves from a profound loss. • From the bestselling author of The Circle. “Nobody writes better than Dave Eggers about young men who aspire to be, at the same time, authentic and sincere.” —The New York Times Book Review "You Shall Know Our Velocity! is the work of a wildly talented writer.... Like Kerouac's book, Eggers's could inspire a generation as much as it documents it." —LA Weekly

“The work of an exceptional woman artist, writing from the inside about the things women have always done: nursing, nurturing, loving.” —The Guardian Winner of the Wellcome Book Prize, and finalist for every major nonfiction award in the UK, including the Samuel Johnson Prize and the Costa Biography Award, The Iceberg is artist and writer Marion Coutts’ astonishing memoir; an “adventure of being and dying” and a compelling, poetic meditation on family, love, and language. In 2008, Tom Lubbock, the chief art critic for The Independent was diagnosed with a brain tumor. The Iceberg is his wife, Marion Coutts’, fierce, exquisite account of the two years leading up to his death. In spare, breathtaking prose, Coutts conveys the intolerable and, alongside their two-year-old son Ev—whose language is developing as Tom’s is disappearing—Marion and Tom lovingly weather the storm together. In short bursts of exquisitely textured prose, The Iceberg becomes a singular work of art and an uplifting and universal story of endurance in the face of loss. “Dazzling, devastating . . . In her plain-spoken retelling of the commonplace human experience of illness and loss, Coutts achieves something truly extraordinary—she’s created one of the most haunting and achingly honest explorations of grief in recent memory.” —Los Angeles Times

"All modern American literature comes from one book called Huckleberry Finn," declared Ernest Hemingway. "There was nothing before. There has been nothing as good since." Yet even from the time of its first publication in 1885, Mark Twain's masterpiece has been one of the most celebrated and controversial books ever published in America. No other story so central to our American identity has been so loved and so reviled as Huck Finn's autobiography.

Huckleberry Finn dressing as a girl is a famously comic scene in Mark Twain's novel but hardly out of character--for the author, that is. Twain "troubled gender" in much of his otherwise traditional fiction, depicting children whose sexual identities are switched at birth, tomboys, same-sex married couples, and even a male French painter who impersonates his own fictive sister and becomes engaged to another man. This book explores Mark Twain's extensive use of cross-dressing across his career by exposing the substantial cast of characters who masqueraded as members of the opposite sex or who otherwise defied gender expectations. Linda Morris grounds her study in an understanding of the era's theatrical cross-dressing and changing mores and even events in the Clemens household. She examines and interprets Twain's exploration of characters who transgress gendered conventions while tracing the degree to which themes of gender disruption interact with other themes, such as his critique of race, his concern with death in his classic "boys' books," and his career-long preoccupation with twins and twinning. Approaching familiar texts in surprising new ways, Morris reexamines the relationship between Huck and Jim; discusses racial and gender crossing in Pudd'nhead Wilson; and sheds new light on Twain's difficulty in depicting the most famous cross-dresser in history, Joan of Arc. She also considers a number of his later "transvestite tales" that feature transgressive figures such as Hellfire Hotchkiss, who is hampered by her "misplaced sex." Morris challenges views of Twain that see his work as reinforcing traditional notions of gender along sharply divided lines. She shows that Twain depicts cross-dressing sometimes as comic or absurd, other times as darkly tragic--but that even at his most playful, he contests traditional Victorian notions about the fixity of gender roles. Analyzing such characteristics of Twain's fiction as his fascination with details of clothing and the ever-present element of play, Morris shows us his understanding that gender, like race, is a social construction--and above all a performance. Gender Play in Mark Twain: Cross-Dressing and Transgression broadens our understanding of the writer as it lends rich insight into his works.