Carpe fucking diem är en bitterljuv kärlekshistoria som utspelar sig i dödens skugga på Los Angeles solbelysta gator. I Hannas telefonbok finns mängder med namn, men när hennes liv plötsligt ställs på ända har hon ändå ingen att ringa. Inte ens Peter, hennes filmstjärna till pojkvän som säger sig älska henne över allt annat, finns där för henne. Hon kastar sin mobil i en gatubrunn och flyr på ren impuls till Los Angeles. Där återförenas hon med sin barndomsvän Gabriel – utan att berätta varför hon lämnat allt bakom sig. Gabriel drömmer om att bli musikalartist, men efter tio år i Hollywood bor han ovanpå ett garage och jobbar som poolskötare åt patologen Henry som är folkskygg och udda – och den vackraste man Hanna någonsin har sett.
Maternal Performance: Feminist Relations bridges the fields of performance, feminism, maternal studies, and ethics. It loosely follows the life course with chapters on maternal loss, pregnancy, birth, aftermath, maintenance, generations, and futures. Performance and the maternal have an affinity as both are lived through the body of the mother/artist, are played out in real time, and are concerned with creating ethical relationships with an other – be that other the child, the theatrical audience, or our wider communities. The authors contend that maternal performance takes the largely hidden, private and domestic work of mothering and makes it worthy of consideration and contemplation within the public sphere.
A documentation of Elina Brotherus' series Announciation. The series deals with a topic that is still very much a taboo: that of involentary childlessness. With this work Elina Brotherus returns to the autobiographical documentary she became known for in the late '90s. We follow her through times of alternating hope and deception, with the intercepting calendar pages showing that yet another year has passed.
Brighton Kerrington Olivia North was everything I always wanted. From the moment I laid eyes on her, I knew nothing would stop me from having her. Not even her husband, Ryan. In the end, I got her. Maybe it wasn’t all to myself, but Olivia was worth every sacrifice I made to be with her. What started as a chance to help Olivia heal from the loss of her babies, ended up changing us all forever. Because there wasn’t anything Ryan and I wouldn’t do to make her happy—including sharing her love. Forgiveness and healing are strange bedfellows, but when it comes to love, nothing is off limits. But everything comes at a cost, and there are key moments that end up changing our lives forever—altering the trajectory we were once on. Before all is said and done, the three of us end up paying more than we ever bargained for. Could our unorthodox love survive the hands of fate, or was it all just the beginning of the end?
Four people, figuring out sex, love, and how to ‘adult.’ Sydney - one of those places that just consumes you. A private school boy, a tortured drug dealer, a starving writer and a gay outcast, try to do their best as they navigate through the unspoken rules which govern the fast paced, status obsessed harbour city. Benji: desperate to stand on his own, and be perceived as separate to his status-driven family. Francesca: plotting her remarkable and glamorous future. Leo: the confident gay-sian, but despite the pretense, lacks a sense of identity and self-worth. Hamish: fell into drugs to distinguish himself. Four stories interlaced together. Anxiety masked as confidence. Ambitions as arrogance. Insecurities which fester … until the cracks appear in the perfect façade "I laughed. I cried. Sometimes at the same time!' Tim Ferguson. "Portolan and Cheong’s voices stitch seamlessly together to lay out a funny, honest and extremely relatable story, so clearly born of the 2020s. I couldn’t get enough of it!" Marlee Silva
From Ellen Datlow (“the venerable queen of horror anthologies” (New York Times) comes a new entry in the series that has brought you stories from Stephen King and Neil Gaiman comes thrilling stories, the best horror stories available. For more than three decades, Ellen Datlow has been at the center of horror. Bringing you the most frightening and terrifying stories, Datlow always has her finger on the pulse of what horror readers crave. Now, with the eleventh volume of the series, Datlow is back again to bring you the stories that will keep you up at night. Encompassed in the pages of The Best Horror of the Year have been such illustrious writers as: Neil Gaiman, Kim Newman, Stephen King, Linda Nagata, Laird Barron, Margo Lanagan, and many others. With each passing year, science, technology, and the march of time shine light into the craggy corners of the universe, making the fears of an earlier generation seem quaint. But this light creates its own shadows. The Best Horror of the Year chronicles these shifting shadows. It is a catalog of terror, fear, and unpleasantness as articulated by today’s most challenging and exciting writers.
Spy and code-breaker extraordinaire Maggie Hope returns to war-weary London, where she is thrust into the dangerous hunt for a monster, as the New York Times bestselling mystery series for fans of Jacqueline Winspear, Charles Todd, and Anne Perry continues. England, 1942. The Nazis’ relentless Blitz may have paused, but London’s nightly blackouts continue. Now, under the cover of darkness, a madman is brutally killing and mutilating young women in eerie and exact re-creations of Jack the Ripper’s crimes. What’s more, he’s targeting women who are reporting for duty to be Winston Churchill’s spies and saboteurs abroad. The officers at MI-5 quickly realize they need the help of special agent Maggie Hope to find the killer dubbed “the Blackout Beast.” A trap is set. But once the murderer has his sights on Maggie, not even Buckingham Palace can protect the resourceful spy from her fate. Praise for The Queen’s Accomplice “Maggie is a thoughtful spy whose dangerous escapades never disappoint.”—Kirkus Reviews “A fine historical mystery given a feminist slant.”—Booklist “Plausible and elegant . . . Like all MacNeal’s novels, this one ends on a cliffhanger that will leave readers eagerly awaiting Maggie’s next adventure.”—Shelf Awareness “Works as a suspenseful stand-alone . . . interesting and informative . . . wartime London is vividly portrayed . . . recommended for those who like their historical mysteries with a large dose of suspense.”—Historical Novel Society “For those who are Maggie Hope diehards, this latest in the series is sure to satisfy.”—Reviewing the Evidence “MacNeal’s meticulous research shines through on every page, and pays off with a wartime atmosphere that feels real.”—Crimespree Magazine
What do you get when you mix a haggard old ghost who is severely ill with nostalgia with the end of the world? You get Dreamers and Thieves, by S. R. Schuch. That is I. I am he. Thomas is dead. He is an old, old soul who just cannot bear to take himself to Heaven, even though that is where all the people are. But, they’re not the same there. They are happy and healthy and eternal. Thomas misses Humans as they were on Earth: emotional, struggling, surviving. He misses them being alive. He saw himself through them, seeing as he was once one of them. Now, they are all gone, and dead, and scattered about the scorched Earth like rotten sprinkles on a big, rotting cake that floats through space. Thomas has lost almost all hope in ever finding life again. His hope is fragile and fleeting, as are his ghostly emotions, which go up and down, up and down. He roams and roams the broken Earth in hopes of finding life when he sees something he hasn’t seen in ages. He sees the Sun poking its blazing face through a pinhole in the blackened, neon, toxic pudding clouds. He hasn’t seen the glory of the Sun in years upon years, not since bombs dropped from all corners of the globe. He knows this is something. He hopes and he prays. He hopes and he prays. The sight tickles his dying hope, which is something that he desperately needs to keep roaming, roaming, roaming, and he instantly knows how he is going to spend his day: he is going to wait out the sight of the Sunrise or Sunset, which ever comes first, and as he waits, he is going to tell you a little story about what could have been, what should have been; the story is about his best friend. His best friend was Victor Connelly. He is dead now. Thomas is nostalgic, sick with memories and ghostly emotions. He and I are the same in that sense. We are ill with emotions that go up and down, up and down, and we both had to do something about it. This is that something.