Debut Best Quotes

Because you live to love and love to live/ And because of what your heardrum will give/ Now we might love to live and live to love.

But let’s all realize we are in the same boat dealing with the same shit. So if you aren’t into someone, before just ignoring them, try to be mindful of how frustrating it is to be on the other side of that and maybe try crafting them an honest message or, at the least, lie and say: “Hey, sorry, working on my debut rap album, Fantabulous, so gonna be in the studio nonstop and need to focus, not dating at the moment. I’m very flattered though and you are a great person, all the best.”  •

It’s one of the paradoxes of being a writer that, physically, there’s not a huge difference between the debut novelist and the international best-seller: they’re each stuck in a room with a laptop, too many Jaffa Cakes and nobody to talk to. I once worked

...the most important aspects of someone’s life are the very things not listed in an index.' There were never entries for “memory,” or 'regrets,' or even 'love,' in the lowercase. It was always 'Education (post-secondary)' or 'Awards (see also: Best Debut R&B Country CD by a Female Artist, Solo).' Indexes never seemed to get to the heart of the matter. There was never a heading for hope or fear. Or dreams, recalled. Smiles, remem­ bered. Anger. Beauty. Or even images that lingered, glimpses of something that had made an impression. A doorway. A window. A reflection on glass. The smell of rain. Never any of that. Just a tally of proper nouns and famous names. And why only one life? Why not the web of other lives that define us? What of their indexes, their moments?

But let’s all realize we are in the same boat dealing with the same shit. So if you aren’t into someone, before just ignoring them, try to be mindful of how frustrating it is to be on the other side of that and maybe try crafting them an honest message or, at the least, lie and say: “Hey, sorry, working on my debut rap album, Fantabulous, so gonna be in the studio nonstop and need to focus, not dating at the moment. I’m very flattered though and you are a great person, all the best.

Isn’t there anyone else you can bug? I’m probably not the best person for the job.” The last football game I’d watched had been the Super Bowl where Janet Jackson’s nipple had made its television debut, and I could honestly have told you more about her areola than the game. I literally knew zilch about sports, especially football. “Please,

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

(through tears) have you ever seen anything so BEAUTIFUL? I don’t even care if this is made up, gottie is spinning us the best yarn since Ebony Dark’ness Dementia Raven Way made her FanFiction dot Net debut

ONE All the best things in my life have started with a Dolly Parton song. Including my friendship with Ellen Dryver. The song that sealed the deal was “Dumb Blonde” from her 1967 debut album, Hello, I’m Dolly. During the summer before first grade, my aunt Lucy bonded with Mrs. Dryver over their mutual devotion to Dolly. While they sipped sweet tea in the dining room, Ellen and I would sit on the couch watching cartoons, unsure of what to make of each other. But then one afternoon that song came on over Mrs. Dryver’s stereo. Ellen tapped her foot as I hummed along, and before Dolly had even hit the chorus, we were spinning in circles and singing at the top of our lungs. Thankfully, our love for each other and Dolly ended up running deeper than one song. I

I came across this line recently in The New York Times, written about the American debut of the Beatles: “They produced a sound that was fresh, energetic and unmistakably their own.” These words may provide the best definition of originality available. “Fresh, energetic, and unmistakably your own.

A flash of lightning ghosts into the room, and when it leaves again, my eyes follow it back out to sea. In the window's reflection, I glimpse a figure standing behind me. I don't need to turn around to see who creates such a big outline-or who makes my whole body turn into a goose-bump farm. "How do you feel?" he says. "Better," I say to his reflection. He hops over the back of the couch and grabs my chin, turning my head side to side, up and down, all around, watching for my reaction. "I just did that," I tell him. "Nothing." He nods and unhands me. "Rach-Uh, my mom called your mom and told her what happened. I guess your mom called your doctor, and he said it's pretty common, but that you should rest a few more days. My mom insisted you stay the night since no one needs to be driving in this weather." "And my mother agreed to that?" Even in the dark, I don't miss his little grin. "My mom can be pretty persuasive," he says. "By the end of the conversation, your mom even suggested we both stay home from school tomorrow and hang out here so you can relax-since my mom will be home supervising, of course. Your mom said you wouldn't stay home if I went to school." A flash from the storm illuminates my blush. "Because we told her we're dating." He nods. "She said you should have stayed home today, but you threw a fit to go anyway. Honestly, I didn't realize you were so obsessed-ouch!" I try to pinch him again, but he catches my wrist and pulls me over his lap like a child getting a spanking. "I was going to say, 'with history.'" He laughs. "No you weren't. Let me up." "I will." He laughs. "Galen, you let me up right now-" "Sorry, not ready yet." I gasp. "Oh, no! The room is spinning again." I hold still, tense up. Then the room does spin when he snatches me up and grabs my chin again. The look of concern etched on his face makes me feel a little guilty, but not guilty enough to keep my mouth shut. "Works every time," I tell him, giving my best ha-ha-you're-a-sucker smirk. A snicker from the entryway cuts off what I can tell is about to be a good scolding. I've never heard Galen curse, but his glower just looks like a four-letter word waiting to come out. We both turn to see Toraf watching us with crossed arms. He is also wearing a ha-ha-you're-a-sucker smirk. "Dinner's ready, children," he says. Yep, I definitely like Toraf. Galen rolls his eyes and extracts me from his lap. He hops up and leaves me there, and in the reflection, I see him ram his fist into Toraf's gut as he passes. Toraf grunts, but the smirk never leaves his face. He nods his head for me to follow them. As we pass through the rooms, I try to remember the rich, sophisticated atmosphere, the marble floors, the hideous paintings, but my stomach makes sounds better suited to a dog kennel at feeding time. "I think your stomach is making mating calls," Toraf whispers to me as we enter the kitchen. My blush debuts the same time we enter the kitchen, and it's enough to make Toraf laugh out loud.

How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.

I’d rather be lucky than good.’ [Baseball player] Lefty Gomez said that, and I live and breathe that fortune-dwelling, fuzzy-dice-dangling creed. I was fantastically lucky to be taken in by Montag Press and its extraordinary managing editor, Charlie Franco. But I’m also a bit of a research freak and I'm convinced that homework helped me set up a situation where luck could flash and ignite. I spent an inordinate amount of time researching small and independent imprints. Here I reveal the flip side of thinking that any hours spent researching literary agents is wasted (in my unwashed opinion) while time spent reading and learning about quality independent publishers is essential. It’s the best and only way to identify the little houses in that vibrant village that might be just right for your own book. (Interview with Ruuf Wangersen on sevencircumstances.com)

Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.

Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.” Amelia blushes, though she is angry more than embarrassed. She agrees with some of what A.J. has said, but his manner is unnecessarily insulting. Knightley Press doesn’t even sell half of that stuff anyway. She studies him. He is older than Amelia but not by much, not by more than ten years. He is too young to like so little. “What do you like?” she asks. “Everything else,” he says. “I will also admit to an occasional weakness for short-story collections. Customers never want to buy them though.” There is only one short-story collection on Amelia’s list, a debut. Amelia hasn’t read the whole thing, and time dictates that she probably won’t, but she liked the first story. An American sixth-grade class and an Indian sixth-grade class participate in an international pen pal program. The narrator is an Indian kid in the American class who keeps feeding comical misinformation about Indian culture to the Americans. She clears her throat, which is still terribly dry. “The Year Bombay Became Mumbai. I think it will have special int—” “No,” he says. “I haven’t even told you what it’s about yet.” “Just no.” “But why?” “If you’re honest with yourself, you’ll admit that you’re only telling me about it because I’m partially Indian and you think this will be my special interest. Am I right?” Amelia imagines smashing the ancient computer over his head. “I’m telling you about this because you said you liked short stories! And it’s the only one on my list. And for the record”—here, she lies—“it’s completely wonderful from start to finish. Even if it is a debut. “And do you know what else? I love debuts. I love discovering something new. It’s part of the whole reason I do this job.” Amelia rises. Her head is pounding. Maybe she does drink too much? Her head is pounding and her heart is, too. “Do you want my opinion?” “Not particularly,” he says. “What are you, twenty-five?” “Mr. Fikry, this is a lovely store, but if you continue in this this this”—as a child, she stuttered and it occasionally returns when she is upset; she clears her throat—“this backward way of thinking, there won’t be an Island Books before too long.

I had made the unwise decision to have my old clothes bagged and wear my fancy new finds home, so that I could debut my new look to the world at large. The reaction had been mixed at best, but often Tyne and wear was unable to keep up with my style savvy, so I didn't let it dishearten me.

Following the shocking death of a trainer working with one of the killer whales just after a performance in February 2010, SeaWorld withdrew its orca trainers from the tanks at all of its parks. Now, no trainers will be in the water during any killer whale performances—at any SeaWorld park. Yet the theme of this show, One Ocean, which debuted in April 2011, is that humans and animals are connected, that ours is “one world united by one ocean,” the narration says.

But at that particular moment in time, he was the hottest director in the hemisphere. Critics had loved his unsentimental debut Dead Antelope, and it had become trendy to suggest his sophomore effort, Kiki Vandeweghe, should have won the Oscar for Best Picture.

The football monologue catapulted Andy into a career in radio and on Broadway. In 1957, he got his shot at film stardom, debuting in Elia Kazan’s astonishing A Face in the Crowd, written by Budd Schulberg. The movie, a dark, prescient take on American politics and mass media, is more appreciated now than it was at the time of its release. But even then, critics were mesmerized by Andy’s fiery performance as Lonesome Rhodes, a small-time radio host who, as his popularity snowballs, transforms into a lusty, egomaniacal demagogue. Many years later, when I was a young adult, Andy told me that playing Lonesome Rhodes had been a harrowing experience for him. Kazan was a brilliant director, he said, but he had manipulated and provoked Andy to summon his darkest, ugliest thoughts and impulses, and the process about wrecked him. “I don’t ever want to do that again,” Andy said. “I like to laugh when I’m working.” Andy had his pick of dramatic roles after A Face in the Crowd, but he chose not to go down that path—the psychological toll had been too high. To some degree, Andy said, Mayberry and the benevolent Sheriff Andy Taylor were a conscious response to Lonesome Rhodes, embodiments of rural America at its best.

Poet Ayoade, the first African immigrant to serve as a nuclear missile operator in the United States Air Force, debuts with an inspirational memoir chronicling his childhood in Nigeria and journey to become a doctor and American citizen. Ayoade, who at the age of seven promised his mother “One day, I will take you far away from here,” details his upbringing with an abusive father and the many family tragedies he endured—along with his dedication to creating a different life: “Underground is my unusual journey from childhood poverty to where I am today. How the impossible became a reality.” Readers will be swept into Ayoade’s vivid recollections of his early years, including his strict education, brushes with death, and a strained relationship with his father. He recounts the family’s passion for American movies that made “America seem like the perfect place,” sparking his desire for a better future, and details his decision to become a veterinarian and eventually pursue a career in the U.S. military to ensure the best life for his family (and future generations). Ayoade’s story is moving, particularly his reconciliation with his father and hard-earned American citizenship, and his message that it’s never too late to chase your dreams resonates. That message will evoke strong emotions for readers as Ayoade highlights the importance of hard work and the benefit of a committed support system, alongside his constant “wishing, praying, and fighting to be free from all the sadness and injustice around me”—a theme that echoes through much of the book, including in his acknowledgement that the fear he experienced as a nuclear missile operator was a “cost of this freedom.” Ayoade’s poetry and personal photographs are sprinkled throughout, illuminating his deep love for family and his ultimate belief in liberty as “The reason for it all./ A foundation for a new generation,/ The best gift to any child.” Takeaway: This stirring memoir documents an immigrant’s fight for the American dream. Great for fans of: Ashley C. Ford’s Somebody's Daughter, Maria Hinojosa’s Once I Was You. Production grades Cover: A- Design and typography: A Illustrations: A Editing: A Marketing copy: A

What I want most is exactly what I don’t have. I was the one who gave you the clothes and accessories and advice. But suddenly, it was you being invited to exclusive parties like Daisy’s and getting featured by the magazines I’ve always wanted to be in. And Tim was my best friend, one of the only people who stuck by me. But once you two got together, he barely had any time for me.

The Blasters proved to be the most prominent and popular of these acts by far. Originally a quartet, the band was bred in Downey, just down the freeway from East L.A. In their teens, brothers Phil and Dave Alvin were bitten by the blues bug; they became habitués of the L.A. club the Ash Grove, where many of the best-known folk and electric blues performers played, and they sought out the local musicians who could teach them their craft, learning firsthand from such icons as Big Joe Turner, T-Bone Walker, and Little Richard’s saxophonist Lee Allen (who would ultimately join the band in the ’80s). But the Blasters’ style was multidimensional: they could play R&B, they loved country music, and they were also dyed-in-the-wool rockabilly fans who were initially embraced by the music’s fervent L.A. cultists. Their debut album, 1980’s American Music, was recorded in a Van Nuys garage by the Milan, Italy–born rockabilly fanatic Rockin’ Ronnie Weiser, and released on his indie label Rollin’ Rock Records, which also issued LPs by such first-generation rockabilly elders as Gene Vincent, Mac Curtis, Jackie Waukeen Cochran, and Ray Campi. By virtue of Phil Alvin’s powerful, unmannered singing and Dave Alvin’s adept guitar playing and original songwriting, the Blasters swiftly rose to the top of a pack of greasy local bands that also included Levi and the Rockats (a unit fronted by English singer Levi Dexter) and the Rockabilly Rebels (who frequently backed Ray Campi). Los Lobos were early Blasters fans, and often listened to American Music in their van on the way to their own (still acoustic) gigs. Rosas says, “We loved their first record, man. We used to play the shit out of that record. Dave [Hidalgo] was the one who got a copy of it, and he put it on cassette.

Nike’s policy of yanking best-selling shoes from the shelves every ten months has inspired some truly operatic bursts of profanity on running message boards. The Nike Pegasus, for instance, debuted in 1981, achieved its sleek, waffled apotheosis in ’83, and then—despite being the most popular running shoe of all time—was suddenly discontinued in ’98, only to reappear as a whole new beast in 2000. Why so much surgery? Not to improve the shoe, as a former Nike shoe designer who worked on the original Pegasus told me, but to improve revenue; Nike’s aim is to triple sales by enticing runners to buy two, three, five pairs at a time, stockpiling in case they never see their favorites again.

KIRKUS REVIEWS BOOK REVIEW A retired professor explores the life and writings of Carl Sandburg in this debut book. “During the first half of the twentieth century,” Quinley writes, “Carl Sandburg seemed to be everywhere and do everything.” Though best known for his Pulitzer Prize–winning poetry and multivolume biography of Abraham Lincoln, Sandburg had a wide-ranging career as a public intellectual, which included stints in journalism as a columnist and investigative reporter, in musicology as a leading advocate and performer of folk music, and in the nascent movie industry as a consultant and film critic. He also dabbled in political activism, children’s literature, and novels. Not only does Quinley, a retired college administrator and professor, hail Sandburg as a 20th-century icon (“If my grandpa asks you a question,” his grandchildren joke, “the answer is always Carl Sandburg”), but much of his own life has been adjacent to that of the poet as well. Born in Maywood, Illinois, a “few blocks” from Sandburg’s home 30 years prior, Quinley would eventually move to the Appalachian Mountains. He lived just a few miles from Sandburg’s famed residence in Hendersonville, North Carolina. As a docent for the Carl Sandburg Home National Historic Site, the author was often asked for literature about the luminary’s life. And though much has been written about Sandburg, biographies on the iconoclast are either out of print or are tomes with more than 800 pages. Eschewing comprehensiveness for brevity, Quinley seeks to fill this void in the literary world by offering readers a short introduction to Sandburg’s life and writings. At just 122 pages, this accessible book packs a solid punch, providing readers with not just the highlights of Sandburg’s life, but also a sophisticated analysis of his passions, poetry, and influence on American culture. This engaging approach that’s tailored to a general audience is complemented by an ample assortment of historical photographs. And while its hagiographic tone may annoy some readers, this slim volume is backed by more than 260 endnotes and delivers an extensive bibliography for readers interested in learning more about the 20th century’s “voice of America.” A well-written, concise examination of a literary legend Kirkus Indie, Kirkus Media LLC, 2600 Via Fortuna Suite 130 Austin, TX 78746 indie@kirkusreviews.com

The X-Files, debuting after the fall of the Soviet Union but before the rise of Al Qaeda, tapped into paranoia at a time when it seemed safe to ask questions. “We actually test marketed the show and what I was really surprised to learn was that everyone in the test audience believed that the government was not working in their best interests,” executive creator Chris Carter told Rolling Stone magazine in 1995.

I am not sure what it is you are trying to get across with this would-be debut novel—but it is not for us here at ****. There is not enough story for us to take notice. The character, though compelling, does not support a moral value or something the reader can latch on to without feeling confused. In all honesty, he is quite the repulsive antihero. I suggest a rewrite, underlining the over-all message you are trying to convey. We may accept something more developed, but until then, here is the manuscript. With our apologies, and best of luck.

The game of football evolved and here was one cause of its evolution, a new kind of athlete doing a new kind of thing. All by himself, Lawrence Taylor altered the environment and forced opposing coaches and players to adapt. After Taylor joined the team, the Giants went from the second worst defense in the NFL to the third best. The year before his debut they gave up 425 points; his first year they gave up 257 points. They had been one of the weakest teams in the NFL and were now, overnight, a contender. Of course, Taylor wasn’t the only change in the New York Giants between 1980 and 1981. There was one other important newcomer, Bill Parcells, hired first to coach the Giants’ defense and then the entire team.

I never want my debut work to be the best, or the one I'm remembered for

In the futures markets, they bought and sold paper contracts. Futures contracts had been around for more than a century and were an integral part of the food system. Corn, pork, and soybean futures were traded on the Chicago Board of Trade. The NYMEX specialized in eggs and butter. The futures market wasn’t big—traders in the market tended to be farmers and big grain millers. They used futures contracts to limit their risk. The owners of the NYMEX weren’t content with their sleepy corner of the financial world, and they decided to expand their business and sell contracts for new kinds of products. The NYMEX introduced the first futures contract for crude oil in 1983. At first, the birth of oil futures contracts looked like a threat to Koch’s business model. Howell and his team spent years figuring out how to be the smartest blind men in the dark cave of the physical oil business and making the best guess as to the real price of oil. Koch Industries had gained an expertise in exploiting the opacity of oil markets and wringing the best price out of its counterparties. The new oil futures contract created something that was anathema to this business model: transparency. When the NYMEX debuted its oil futures contract, it created a very visible price for crude oil that changed by the minute on a public exchange. Again, this wasn’t the price of real crude; it was the price for a futures contract on crude, reflecting the best guess of all market participants as to what a barrel of oil would be worth in the future. Even though the futures price wasn’t the real price, it provided everybody with a common reference point. Now, when Koch called up someone to buy oil from Koch’s tank farm in St. James, that customer could look at a screen and start haggling based on what the markets in New York were saying the price of oil was worth. “It was the first time that there was a common, visible market signal,” Howell said. “It just kind of sucked the oxygen out of the room for that physical trading.

Milton did his best to keep up, which is to say, he lagged behind, baying like a mortally wounded basset hound. The Fausters were to singing as Napoleon was to Extreme Frisbee. Milton’s Pang gullet only made things worse, drawing out each tortured “note” until it whimpered for release. Mr. Presley pulled the emergency brake on their duet. “We’ve all got talent, son,” he consoled. “Some folks just got to dig deeper than others to find it. Now, let’s give someone else a chance. You”—he waved his diamond-ringed fingers lazily toward Virgil—“step on up and show us what you’ve got.” Virgil rose nervously, his metal chair sighing with relief, and trudged up to the stage as Milton shambled off. Ever the good friend, Virgil tried to high-five Milton after his disastrous debut, but due to Milton’s Pang-suited delayed reaction, he just ended up slapping him in the head. “Sorry,” Virgil mumbled to his friend as he stood before the chalkboard. “Just follow my lead, son, and relax,” Mr. Presley slurred supportively. Mr. Presley began to mournfully croon. “Au signal du plaisir, Dans la chambre du drille, Tu peux bien entrer fille, Mais non fille en sortir …” Virgil pulled in a great breath and began to sing. “Bonne nuit, hélas! Ma petite, bonne nuit. Près du moment fatal.” In a word, Virgil’s voice was stunning. In another word, he was a virtuoso. In four more words, Milton was very surprised. Virgil’s thrilling spectacle of pitch and tone was like a vocal fireworks display, and his breath control left the rest of the class breathless. “Fais grande résistance, S’il ne t’offre d’avance Un anneau conjugale.” Riding

Ladies and gentlemen.” His voice carried straight into the darkest corners of the hall and straight into Ellen’s heart. “There is a slight misprint on tonight’s program. We offer for our finale tonight my own debut effort, which is listed on the program as Little Summer Symphony. It should read, Little Weldon Summer Symphony, and the dedication was left out, as well, so I offer it to you now. “Ellen, I know you are with me tonight, seated with my parents and our friends, though I cannot see you. I can feel you, though, here.” He tapped the tip of the baton over his heart. “I can always feel you there, and hope I always will. Like its creator, this work is not perfect, but it is full of joy, gratitude, and love, because of you. Ladies and gentlemen, I dedicate this work to the woman who showed me what it means to be loved and love in return: Ellen, Baroness Roxbury, whom I hope soon to convince to be my lady wife. These modest tunes and all I have of value, Ellen, are dedicated to you.” He turned in the ensuing beats of silence, raised his baton, and let the music begin. Ellen was in tears before the first movement concluded. The piece began modestly, like an old-fashioned sonata di chiesa, the long slow introduction standing alone as its own movement. Two flutes began it, playing about each other like two butterflies on a sunbeam, but then broadening, the melody shifting from sweet to tender to sorrowful. She heard in it grief and such unbearable, unresolved longing, she wanted to grab Val’s arm to make the notes stop bombarding her aching heart. But the second movement marched up right behind that opening, full of lovely, laughing melodies, like flowers bobbing in a summer breeze. This movement was full of song and sunshine; it got the toes tapping and left all manner of pretty themes humming around in the memory. My gardens, Ellen thought. My beautiful sunny gardens, and Marmalade and birds singing and the Belmont brothers laughing and racing around. The third movement was tranquil, like the sunshine on the still surface of the pond, like the peace after lovemaking. The third movement was napping entwined in the hammock, and strolling home hand in hand in the moonlight. She loved the third movement the best so far, until it romped into a little drinking song, that soon got away from itself and became a fourth movement full of the ebullient joy of creation at its most abundant and beautiful. The joy of falling in love, Ellen thought, clutching her handkerchief hard. The joy of being in love and being loved the way you need to be. Ah, it was too much, and it was just perfect as the music came to a stunning, joyous conclusion.

In 2009 i was nominated for the 'best dutch poetry debute' called 'the buddingh award'. It's supposed to be the most important debut price. However the event proved rather hallucinogenic. It started with my publisher expressing 'great surprise' that 'I still managed to get nominated'. The surprise was out of place, since my book simply got the best reviews of all books that year. I went to Poetry International and noticed only 2 of the 3 jury members where present, and the female one kept looking at me in sort of a guilty fashion. Then the award was granted to Misscha Andriessen, which was sort of weird since his book was not seen as universally the best by critics. 'Too lightweight' one review of an important critic read. Later on I read that jurymember Wim Brands one year prior to the price already made clear that 'he is a big fan of Mischa Andriessen'. I always assumed that they were friends somehow but this morning I solved the mystery: they are from the same little village, so it had nothing to do with poetry, just tribal culture at its best. Kind of a relief to know that.

ABOUT PRECIOUS YOU An obsessive power struggle between an editor and her millennial intern turns dangerous in this debut psychological thriller—for readers of Luckiest Girl Alive and You. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY KIRKUS REVIEWS • “Hypnotic . . . an addictive thriller.”—People Trusting you was my first mistake. To Katherine, twenty-four-year-old Lily Lunt is a typical “snowflake.” It seems like the privileged, politically correct millennial will do whatever she can to make it big as a writer, including leveraging her family’s connections. To Lily, Katherine Ross, a career woman in her early forties, is a holdover from another era: clueless, old-fashioned, and perfectly happy to build her success on the backs of her unpaid interns.

An extraordinary, stranger-than-fiction story told with an incredible eye for detail by the man who knows it best. Dark and compelling." - Jenny Kleeman “An assured debut.” - Jon Smart “True crime like the best crime fiction you will ever read.” - Kate Belcher

Here's some reviews of my book, A Garden of Bones . . . . "An extraordinary, stranger-than-fiction story told with an incredible eye for detail by the man who knows it best. Dark and compelling." - Jenny Kleeman “An assured debut.” - Jon Smart "Truw Crime like the best Crime Fiction you will ever read . . ." Kate Belcher

I Saw Her Standing There’ is the best first song on a debut album, ever.

Chris Good evening, ladies . . . He steps into it. . . . and gentlemen and welcome to the Cornley Polytechnic Society’s spring production of The Murder at Haversham Manor. I would like to personally welcome you to what will be my directorial debut, and my first production as head of the drama society. We are particularly excited to present this play because, for the first time in the society’s history, we have managed to find a play that fits the company’s numbers perfectly. If we’re honest, a lack of numbers has hampered past productions, such as last year’s Chekov play; Two Sisters. Or last Christmas’s The Lion and the Wardrobe, and of course our summer musical, Cat. This will be the first time the society has been able to stage a play of this scale and we are thrilled. It’s no secret we usually have to contend with a small budget, as we had to in last year’s presentation of Roald Dahl’s classic, James and the Peach. Of course, during the run of that particular show the peach went off, and we were forced to present a hastily devised alternative entitled James! Where’s your Peach? Finally we’ve managed to stage a play as it should be, and cast it exceptionally well. I’m sure no one will forget the problems we’ve faced with casting before, such as 2010’s Christmas presentation of Snow White and the Tall, Broad Gentlemen, or indeed our previous year’s pantomime, another Disney classic: Ugly . . . and the Beast. But now, on with the main event, which I am confident will be our best show yet! So without any further ado, please put your hands together for Susie H.K. Brideswell’s thrilling whodunit – The Murder at Haversham Manor.

Hey, we’ll let Huckleberry enjoy his lunch. Speaking of something, if you are in a better mood now, come with me to the Rainforest Room. I have something to show you. I wanted to wait until you calmed down because it means a lot to me, and I hoped you might be happy for me. Here, come with me.” He led her back to the previous room, which had amazing, rare rainforest plants in it. “Check this out!” He tossed her a magazine that said Horticultural Digest on the cover. Holly neatly caught it and opened it up to the dog-eared page. Blaring across the page in huge font was the title: WILLIAM SMITH, THE RAINMAKER OF SHELLESBY COLLEGE’S FAMOUS RAINFOREST ROOM. It was a five-page spread with big glossy photos of the Rainforest Room sprinkled throughout the article. “Five, count ‘em, five pages! That’s my record. Until now, they’ve only given me four. Check it out: I’m the Rainmaker, baby! Let it rain, let it rainnnn!” William stomped around in make-believe puddles on the floor. He picked up a garden hose lying along the side of the room and held it upright like an umbrella. “I’m singing in the rain, just singing in the rain. What a glorious feeling. I’m happy again.” Holly squealed with laughter and applauded. William jumped up on a large over-turned pot and shifted the hose to now play air guitar while he repeated the verse. “William, there is no air guitar in that song!” “There is now, baby!” Holly exploded again in laughter, clutching her sides. After a few more seconds of air guitar, William jumped off the pot and lowered his voice considerably. “Thank you, thank you very much,” William said in his Elvis impersonation. He now held the garden hose like a microphone and said, “My next song is dedicated to my beagle, my very own hound dog, my Sweetpea. Sweetpea, girl, this is for youuuuuuu.” He now launched into Elvis’s famous “Hound Dog.” “You ain’t nothing but a hound dogggg.” With this, he also twirled the hose by holding it tight two feet from the nozzle, then twirling the nozzle in little circles above his head like a lasso. “Work it, William! Work it!” Holly screamed in laughter. He did some choice hip swivels as he sang “Hound Dog,” sending Holly into peals of laughter. “William, stop! Stop! Where are you? I can’t see I’m crying so hard!” William dropped his voice even lower and more dramatically. In his best Elvis voice, he said, “Well, if you can’t find me darlin’, I’ll find you.” He dropped on one knee and gently picked up her hand. “Thank you, thank you very much,” he said in Elvis mode. “My next song, I dedicate to my one and only, to my Holly-Dolly. Little prickly pear, this one’s for youuuuuu.” He now launched into Elvis’s famous “I Can’t Help Falling in Love with You.” “Take my hand, take my whole life, too, for I can’t help falling in love with you.” With that, he gave her hand a soft kiss. He then jumped up onto an empty potting table and spun around once on his butt, then pushed himself the length of the entire table, and slid off the far end. “Loose, footloose!” William picked up his garden-hose microphone again and kept singing. “Kick off the Sunday shoes . . .” He sang the entire song, and then Holly exploded in appreciative applause. He was breathing heavily and had a million-dollar smile on his face. “Hoo-wee, that was fun! I am so sweaty now, hoo-boy!” He splashed some water on his face, and then shook his hair. “William! When are you going to enter that karaoke contest at the coffee shop in town? They’re paying $1,000 to the winner of their contest. No one can beat you! That was unbelievable!” “That was fun.” William laughed. “Are in a better mood now?” “How can I not be? You are THE best!

sometimes being silent is the best way to appreciate the moment

Through the Fire by Raj Lowenstein Trafford Publishing reviewed by Anita Lock "Beware the Abomination." After initially treating Michael Braun for wounds resulting from a brutal attack, David and Kelly Hartman—a physician and nurse respectively, as well as a gay, married couple—feel that the best place for her (yes, a she despite the masculine name) to recover is at the condo of David's twin brother, Dan. Dan, an overworked detective, ignores David's frantic texts and is shocked when he wakes to find a stunningly beautiful but battered woman sleeping upstairs. Michael is also a mute who communicates through American Sign Language (ASL), a language in which Dan happens to be an expert. Although the two eventually fall in love, there is more to Michael's past that Dan is aware of until he receives information from none other than Michael's abuser. Raj Lowenstein presents a romantic thriller that appears more disturbingly real than fiction. Set largely in Texas, Lowenstein's plot has a bit of a Law and Order feel to it—minus the court and prison scenes. Laced with gender-related issues and replete with a tight cast, Lowenstein's storyline zeroes in on Dan and his unexpected romance with Michael amid peculiar situations. Lowenstein punctuates her thought-provoking, third-person narrative with the sinister and hideous presence of Catfish, whose persona is a paradox to say the least. Key to Lowenstein's writing style is the use of engaging dialogue to generate dynamic characters who are developing their relationships and facing life's challenges. Lowenstein aptly fashions her well-developed cast within cliff-hanging chapters that alternate between unanticipated character scenes. Scenes are filled with back stories, steamy romantic episodes, investigations, the evil machinations of Catfish, and are all used in the deliberate build-up to the novel's intense and unnerving apogee. Kudos to Lowenstein for creating an edgy and eye-opening debut! RECOMMENDED by the US Review

Looking incredibly dashing as he bent his head toward the oh-so-fashionable Miss Kasson was none other than Mr. Edgar Wanamaker—her best friend from childhood, and . . . the very first gentleman to ever offer her a proposal of marriage. She and Edgar had met when they’d been little more than infants, that circumstance brought about because their parents owned adjacent summer cottages on Long Island. Wilhelmina had spent every childhood summer with Edgar by her side, enjoying the sandy beaches and chilly water of the Atlantic from the moment the sun rose in the morning until it set in the evening. Even when Edgar had been away at school, being a few years older than Wilhelmina, they’d spent every possible minute they could with each other during the holidays. He’d even made certain to be in the city the night of her debut ball, waiting for her at the bottom of her family’s Park Avenue mansion as she’d descended the grand staircase on her father’s arm. As she’d stepped to the highly polished parquet floor, she’d caught his gaze, the intensity of that gaze causing her heart to fill with fondness for her oldest and dearest friend. That fondness, however, had disappeared a few hours later when Edgar had gone and ruined everything by asking her to marry him. She’d been all of seventeen years old the night of her debut—seventeen years old with the world spread out at her feet. Add in the notion that the whispers stirring around the ballroom were claiming she was destined to be a diamond of the first water, and the last thing she’d wanted that particular evening was a marriage proposal extended to her from her very best friend. Edgar, no matter the affection she held for him, was only a second son. Paired with the pesky fact he’d had no idea as to what he’d wanted to do with the rest of his life—except, evidently, to marry her—and she’d been less than impressed by his offer. What

She was not alone. “There’s a definite panic on the hip scene in Cambridge,” wrote student radical Raymond Mungo that year, “people going to uncommonly arduous lengths (debt, sacrifice, the prospect of cold toes and brown rice forever) to get away while there’s still time.” And it wasn’t just Cambridge. All over the nation at the dawn of the 1970s, young people were suddenly feeling an urge to get away, to leave the city behind for a new way of life in the country. Some, like Mungo, filled an elderly New England farmhouse with a tangle of comrades. Others sought out mountain-side hermitages in New Mexico or remote single-family Edens in Tennessee. Hilltop Maoists traversed their fields with horse-drawn plows. Graduate students who had never before held a hammer overhauled tobacco barns and flipped through the Whole Earth Catalog by the light of kerosene lamps. Vietnam vets hand-mixed adobe bricks. Born-and-bred Brooklynites felled cedar in Oregon. Former debutants milked goats in Humboldt County and weeded strawberry beds with their babies strapped to their backs. Famous musicians forked organic compost into upstate gardens. College professors committed themselves to winter commutes that required swapping high heels for cross-country skis. Computer programmers turned the last page of Scott and Helen Nearing’s Living the Good Life and packed their families into the car the next day. Most had no farming or carpentry experience, but no matter. To go back to the land, it seemed, all that was necessary was an ardent belief that life in Middle America was corrupt and hollow, that consumer goods were burdensome and unnecessary, that protest was better lived than shouted, and that the best response to a broken culture was to simply reinvent it from scratch.

youngest child entered first grade. During the next few years, she joined Romance Writers of America, learned a few things about writing a book, and decided the process was way more fun than analyzing financial statements. Melinda’s debut novel, She Can Run, was nominated for Best First Novel by the International Thriller Writers. Melinda’s bestselling books have garnered three Daphne du Maurier Award nominations and a Golden Leaf Award. When she isn’t writing, she is an avid martial artist: she holds a second-degree black belt in Kenpo karate and teaches women’s self-defense. She lives in a messy house with her husband, two teenagers, a couple

It’s never too late to take stock of one’s work, relationships, and life. What dreams of yours are unfulfilled, and why have they been pushed aside? Sometimes circumstances or economics are the unavoidable roadblock to achieving your dreams. When things are outside of a person’s control, all one can do is to evaluate how best to deal with these obstacles, and then take action. That was my personal approach when I was diagnosed with breast cancer. The best thing about my cancer was that I realized how many people cared about me and wanted to help. I am not very good at asking for help and, unfortunately, many people are the same. Family and friends are a grossly underrated asset, which is why I centered my debut novel, To Tuscany with Love, on a group of friends who help each other save, and forgive, themselves. A surprising occurrence is that sometimes we ourselves, like my characters, have become the obstruction to achieving our goals. Passionately investing in your relationships and dreams is the first step to molding yourself into the person you dream of being and in the process, achieving happiness and fulfillment.