The towering modern classic of passion and ambition that forever changed the way we see the courageous immigrants who came to America's shores -- the story of Anna Friedman transfixes us with the turbulent emotions of a woman and her family touched by war, tragedy, and the devastating secrets of one forbidden love... bittersweet and evergreen.

Inspired by Georges Seurat's pointillist masterpiece, Sunday Afternoon on the Island of La Grande Jatte, Stephen Sondheim and James Lapine's musical celebrates the art of creation and the creation of art. In the first half of the musical, set in 1884, the people - and the animals - in the painting come to life in a world where, for the artist George, art comes before love, before everything. In the second half, a century later, Seurat's great-grandson is wrestling with the same obsessions in present-day New York. Sunday in the Park with George was premiered on Broadway in May 1984, in a production directed by James Lapine. An earlier, incomplete version had been performed Off-Broadway at Playwrights Horizons in July 1983. The musical went on to win the 1985 Pulitzer Prize for Drama. The first London production opened at the National Theatre in March 1990. It won the 1991 Olivier Award for Best New Musical.

'It never really occurred to her that literary men, if they like women at all, do not want literary women but girls.' The May of Teck Club 'exists for the Pecuniary Convenience and Social Protection of Ladies of Slender Means below the age of Thirty Years'. Nevertheless, and though there is a war on, they find the time between elocution lessons to jostle one another over suitors (some more suitable than others) and a single Schiaparelli gown. But can a love of literature, fine clothes and amorous young men save these young ladies from the horrors of the real world? 'Unsettling and exhilarating' William Boyd, Daily Telegraph 'An enduring genius' Guardian

For thirty years, Rich's poetry has revealed the individual personal life—sexualities, loves, damages, struggles—as inseparable from a wider social condition, a world with others, in which the empowering of the disempowered is increasingly the source of human hope. Now her mature vision engages with the power of time itself: memory and its contradictions, the ebb and flow between parents and children, the deaths we all face sooner or later, the meaning of human responsibility in all this. "Letters in the Family," for example, is written in the voices of three women—from the Spanish Civil War, from a Jewish rescue mission behind Nazi lines, and from present-day Southern Africa. Time's Power shows Rich writing with unprecedented range, complexity, and authority.

When her marriage ends, Laura Giovanni, an artist who draws the hidden pictures page for a children's magazine, falls in love with a woman, a situation that complicates her relations with her ex-husband, David, and her young son, Sam.

POWERFUL MEN, BEAUTIFUL WOMEN AND EXQUISITE REVENGE... Beth, Lara and Rio -- three exotic women with a common cause and vengeance in their hearts. They're out to avenge a murder and they'll go to any lengths. Their the heirs of the Bassalino crime family. Their sex. The a bloodbath of sexual mayhem through the lethal corridors of organized crime. Three beautiful women set out to prove that when it comes to revenge, the female is far deadlier than the male -- especially when they're THE LOVE KILLERS. . .

The Man I Love, I Got Rhythm, A Foggy Day, Let's Call the Whole Thing Off, Nice Work If You Can Get It, They All Laughed, 'S Wonderful, The Man That Got Away ... make a list of Ira Gershwin's songs, and the names themselvse sound a familiar melody. The most literate and word-loving of our great lyricists, Ira Gershwin described his writing as simple, colloquial, rhymed conversational lines. Yet these simple lines were so irresistibly witty and enticing that dozens of them have made their way into the musical vernacular of the 20th century, the common memory of a song-loving culture.

A comprehensive anthology bringing together more than one thousand of the best American and English song lyrics of the twentieth century; an extraordinary celebration of a unique art form and an indispensable reference work and history that celebrates one of the twentieth century’s most enduring and cherished legacies. Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim. Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”). The lyricists are presented chronologically, each introduced by a succinct biography and the incisive commentary of Robert Gottlieb and Robert Kimball.

The Book of Blessings is an extraordinary and deeply poetic re-creation of Jewish prayer that offers new blessings, poems, and meditations for Sabbath, holiday, and everyday observance. Steeped in dialogue with rabbinic tradition, it is for those who seek a more contemporary, egalitarian approach to traditional liturgy. " Falk] manages to create extraordinarily beautiful prayers--in Hebrew and English--that are both radically new and deeply resonant with Jewish tradition." --Judith Plaskow, The Women's Review of Books "Marcia Falk's work in Hebrew blessings is as beautiful as it is innovative; and it is innovative in the sweetest, most nourishing sense, sat urated in love for the language itself (its overtones and melodies as well as its deep structure), its history, its people. Even those who do not hear the traditional liturgies as exclusionary will respond to the meticulously flowering poet's passion of Marcia Falk's wholly original contribution." --Cynthia Ozick "A truly magisterial and exciting collection of brakhot . . . that invites us to re-encounter not only the blessing, but the Source of blessing. . . . Falk rekindles the flame of Jewish ardor and devotion." --Hadassah " Falk's] prayers are re-creations of traditional prayers, her versions striking in the beauty and power of their language, in English and Hebrew: this is a poet's siddur, full of profound meaning." --Sandee Brawarsky, Jewish Week

A keepsake edition gathering the lyrics of more than 80 of Gershwin’s most popular songs Ira Gershwin once remarked that he always tried to “capture the way people spoke to each other—their slang, their clichés, the catch phrases.” Few people in ordinary life, of course, can muster the humor, vivacity, and emotional directness that Gershwin brought to his lyrics. His collaboration with his brother George—one of the summits of American popular music—produced masterpieces that reflect, perhaps, the way people would like to talk. “Someone to Watch Over Me,” “Nice Work If You Can Get It,” “They Can’t Take That Away from Me,” “’S Wonderful”: these have entered the culture and become part of our common language. The insouciant, improvisational air of his lyrics belies the meticulous craftsmanship that Ira brought to every syllable. Robert Kimball has gathered more than 80 examples of Ira Gershwin at his best: the comic invention of songs such as “They All Laughed” and “Let’s Call the Whole Thing Off,” the poignancy of “The Man I Love,” the wry edge of “The Saga of Jenny,” the sheer exuberance of “Fascinating Rhythm,” and dozens more. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

Leona Samish, a single American woman of a "certain age" takes a long-planned European vacation from her job as a secretary and finds herself in a pensione in Venice, Italy. At a street market, she meets the handsome proprietor Renato DiRossi, entering into a casual flirtation which turns into an affair. Her complacency is jolted when she discovers he is married, has several children and is quite happy with the arrangement as is. Long-dormant frustrations and anger come to the surface as Leona faces the harsh reality of this new found infatuation and her own romantic notions of love. Shirley Booth and later Katharine Hepburn ("Summertime") played the leading role.

Liza Goldberg is twenty-five, Jewish, heterosexual--and unhappy. She is also a bulimic caught in a self-destructive cycle of alternately binging and starving herself. This novel tells of her discovering her lesbian identity, and of the people in her life, her first female lover, Anemone; Harvey, her gay roommate; and the nursery school kids from whom Liza sneaks peanut butter snacks.

Collects twelve short stories of the talented South African writer, many originally published in such magazines as The New Yorker and Harper's and including the celebrated "Town and Country Lovers"

Novellas about an interracial relationship and a sixteen-year-old girl's sexual awakening record the author's concern about the complexities of love

Louise, not content with her husband's gentle affection, strives to reclaim her youth in titillating social and spiritual adventures. Her daughter Marietta searches for beauty in lofty ideas and in her obsession for her son Mark, who believes love is to be found in the pursuit of money and young, vacuous lovers. And Leo, their eccentric, self-styled guru, satisfies himself with power -- commanding the bodies and souls of his followers.

This delightful comedy is about Theda Blau, a failed actress, health food nut, and would-be playwright who wants to find love and success in New York. She meets Vito Pignoli, a hugely successful TV commercial director. By holding him hostage in her apartment on a snowy Christmas Eve, she somehow manages to convince him to be her partner both on the page and off.

In this major new collection, John Hollander displays the elegance, versatility, and wit that mark him as perhaps the most urbane poet in America. "In Time and Place" features a generous offering of new verse, an extended prose piece, and a series of prose poems previously available only in a rare, privately published edition. The tightly rhymed quatrains of the new poems demonstrate once again the freedom Hollander achieves through mastery of form. The consummate control with which he writes in memoriam to a lost love and a time of absence gives him opportunities to move through dimensions most poets never see. His purgatorial mock-journal—dwelling on loss and gain, on difference and effacement, on places and the place of writing—leads into a sequence of captivating prose poems, where imagination centers on the word and language celebrates its own creation.

(This is a choose your own adventure book)You are the stainless steel rat......well, almost. The newest recruit in the Special Corps, you take your orders from the legendary Slippery Jim diGriz. Rogue. Rascal. And master-criminal turned cop. Linked by a hi-tech mind-meld, he'll be with you every step of the way. But you deal with his heckling.Your kidnap the mad scientist Professor Geisteskrank from the planet Skraldespand. Why, you ask? Because he's invented a device that could end life as we know (and love) it in the entire universe.Oh yes, and did we mention that the planet Skraldespand is a prison planet and home to the felonious refuse of a thousand human and alien worlds? Good luck. You're going to need it.

With a new introduction by Thomas Mallon "Dubin's Lives" (1979) is a compassionate and wry commedia, a book praised by Christopher Lehmann-Haupt in "The New York Times" as Malamud's "best novel since "The Assistant," Possibly, it is the best he has written of all." Its protagonist is one of Malamud's finest characters; prize-winning biographer William Dubin, who learns from lives, or thinks he does: those he writes, those he shares, the life he lives. Now in his later middle age, he seeks his own secret self, and the obsession of biography is supplanted by the obsession of love--love for a woman half is age, who has sought an understanding of her life through his books. "Dubin's Lives" is a rich, subtle book, as well as a moving tale of love and marriage.