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A New York Times Notable BookAn Edgar Award FinalistIn this startling tour-de-force, a professional homicide detective finally solves the case of one of the most shocking murders of the twentieth century in this true-crime page-turner."Supposin' I did kill the Black Dahlia. They couldn't prove it now. They can't talk to my secretary anymore because she's dead."-- Dr. George Hodel, February 18, 1950, from residential electronic surveillance transcripts in the L.A. District Attorney's files, released to the public for the first time on April 11, 2003In 1947, the sadistic murder of a beautiful young woman, twenty-two-year-old Elizabeth Short, led to the largest manhunt in Los Angeles history and came to be known as the Black Dahlia murder. In the film noir streets of Los Angeles, the killer teased and taunted the police and public alike through notes written to L.A. papers, much like Jack the Ripper had done in London sixty years earlier. When the LAPD failed to solve the crime, it was passed down from year to year to crack homicide detectives, but none could ever bring the killer to justice -- until now. Even more startling -- a twist worthy of any great mystery novel -- is the identity of the murderer: the author's own father, George Hodel, a real-life Jekyll and Hyde, a man who by day was a highly respected member of society and by night a mad, sadistic killer.Black Dahlia Avenger is the result of more than three years of meticulous investigation by Steve Hodel. At long last, he closes what has often been called "the most notorious unsolved murder of the twentieth century."

2017 Kobo Emerging Writer Prize FinalistIn this smart, funny, and inspiring memoir, Donlon chronicles her impressive and storied career, which has put her on the frontlines of the massive changes in the music industry and media. She chronicles her early days at MuchMusic and the music journalism show The NewMusic, where she was a host and producer, and quickly moved up the ranks to become director of music programming, then VP and general manager. Her mandate was relevance, during a time when music videos became a medium that would change pop music and popular culture forever. She became the first female president of Sony Music Canada, where she navigated the crisis in the music industry with the rise of Napster and the new digital revolution. She then joined CBC English Radio as General Manager and Executive Director when the corporation absorbed funding cutbacks, leading to mass reductions in people and programming and leaving a shadow over the future of Canada’s national public broadcaster.Throughout her incredible journey, she shares colourful and entertaining stories of growing up tall, flat, and bullied in east Scarborough; interviewing musical icons such as Keith Richards, Run-DMC, Ice-T, Joni Mitchell, Neil Young, Annie Lennox, and Sting; working with talent agent Sam Feldman, media pioneer Moses Znaimer, executive vice-president of CBC Radio Richard Stursberg, and her co-host on the current affairs magazine show The Zoomer, Conrad Black. And finally, she details her life-changing experiences with War Child Canada and her work with other charitable organizations, including Live8 and the Clinton Giustra Enterprise Partnership.Told with humour and honesty, Fearless as Possible (Under the Circumstances) is a candid memoir of one woman’s journey, navigating corporate culture with integrity, responsibility, and an irrepressible passion to be a force for good.

#1 New York Times Bestseller2014 NATIONAL BOOK AWARD FINALISTIn her first memoir, New Yorker cartoonist Roz Chast brings her signature wit to the topic of aging parents. Spanning the last several years of their lives and told through four-color cartoons, family photos, and documents, and a narrative as rife with laughs as it is with tears, Chast’s memoir is both comfort and comic relief for anyone experiencing the life-altering loss of elderly parents.When it came to her elderly mother and father, Roz held to the practices of denial, avoidance, and distraction. But when Elizabeth Chast climbed a ladder to locate an old souvenir from the “crazy closet”―with predictable results―the tools that had served Roz well through her parents’ seventies, eighties, and into their early nineties could no longer be deployed. While the particulars are Chast-ian in their idiosyncrasies―an anxious father who had relied heavily on his wife for stability as he slipped into dementia and a former assistant principal mother whose overbearing personality had sidelined Roz for decades―the themes are universal: adult children accepting a parental role; aging and unstable parents leaving a family home for an institution; dealing with uncomfortable physical intimacies; managing logistics; and hiring strangers to provide the most personal care. An amazing portrait of two lives at their end and an only child coping as best she can, Can't We Talk about Something More Pleasant will show the full range of Roz Chast’s talent as cartoonist and storyteller.

WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARDPEN/MALAMUD AWARDNATIONAL BOOK AWARD FINALISTTHE STORY PRIZE FINALISTLOS ANGELES TIMES BOOK PRIZE FINALISTIn this sumptuous offering, one of our premier storytellers provides a feast for fiction aficionados. Spanning four decades and three prize-winning collections, these twenty-one vintage selected stories and thirteen scintillating new ones take us around the world, from Jerusalem to Central America, from tsarist Russia to London during the Blitz, from central Europe to Manhattan, and from the Maine coast to Godolphin, Massachusetts, a fictional suburb of Boston. These charged locales, and the lives of the endlessly varied characters within them, are evoked with a tenderness and incisiveness found in only our most observant seers.No matter the situation in which her characters find themselves―an unforeseen love affair between adolescent cousins, a lifetime of memories unearthed by an elderly couple's decision to shoplift, the deathbed secret of a young girl's forbidden forest tryst with the tsar, the danger that befalls a wealthy couple's child in a European inn of misfits―Edith Pearlman conveys their experience with wit and aplomb, with relentless but clear-eyed optimism, and with a supple prose that reminds us, sentence by sentence, page by page, of the gifts our greatest verbal innovators can bestow.Binocular Vision reveals a true American original, a master of the story, showing us, with her classic sensibility and lasting artistry, the cruelties, the longings, and the rituals that connect human beings across space and time.

National Book Critics Circle Award FinalistIn this stunning volume of epic breadth, Michael Schmidt connects the lives and works of more than 300 poets over the last 700 years--spanning distant shores from Scotland to Australia to the Caribbean, all sharing the English language. Schmidt reveals how each poet has transformed "a common language of poetry" into the rustic rhythms and elegiac ballads, love sonnets, and experimental postmodern verse that make up our lyrical canon.A comprehensive guided tour that is lively and always accessible, Lives of the Poets illuminates our most transcendent literary tradition.

A ForeWord magazine top ten university press book choiceWinner of the 2004 Hollis Summers Poetry Prize2004 Los Angeles Times Book Prize finalistIn Joshua Mehigan’s award-winning poetry, one encounters a lucid, resolute vision driven by an amazing facility with the metrical line. Most of the poems in The Optimist unapologetically employ traditional poetic technique, and, in each of these, Mehigan stretches the fabric of living language over a framework of regular meter to produce a compelling sonic counterpoint.The Optimist stares at contemporary darkness visible, a darkly lit tableau that erases the boundary between the world and the perceiving self. Whether narrative or lyric, dramatic or satirical, Mehigan’s poems explore death, desire, and change with a mixture of reason and compassion.In choosing The Optimist for the Hollis Summers Poetry Prize, final judge James Cummins, wrote:“The world is given its due in these poems, but its due is the subjective voice making ‘objective’ reality into the reality of art. To do this Mehigan accesses a tradition of voices—the echoes in The Optimist are, to name a few, of Frost, Robinson, Kees, and Justice; and more in terms of point of view, Bishop and Jarrell—to form with great integrity his own. It isn’t that Mehigan is concerned more with what’s outside himself than inside; nor merely that he travels the highway between the two with such humility and grace. It’s also that these voices, this great tradition, infuses his line with what the best verse, metrical or free, must have: wonder.”