Cockeyed

On his 18th birthday, Ryan Knighton was diagnosed with Retinitis Pigmentosa (RP), a congenital, progressive disease marked by night-blindness, tunnel vision and, eventually, total blindness. In this penetrating, nervy memoir, which ricochets between meditation and black comedy, Knighton tells the story of his fifteen-year descent into blindness while incidentally revealing the world of the sighted in all its phenomenal peculiarity. Knighton learns to drive while unseeing; has his first significant relationship—with a deaf woman; navigates the punk rock scene and men's washrooms; learns to use a cane; and tries to pass for seeing while teaching English to children in Korea. Stumbling literally and emotionally into darkness, into love, into couch-shopping at Ikea, into adulthood, and into truce if not acceptance of his identity as a blind man, his writerly self uses his disability to provide a window onto the human condition. His experience of blindness offers unexpected insights into sight and the other senses, culture, identity, language, our fears and fantasies. Cockeyed is not a conventional confessional. Knighton is powerful and irreverent in words and thought and impatient with the preciousness we've come to expect from books on disability. Readers will find it hard to put down this wild ride around their everyday world with a wicked, smart, blind guide at the wheel.

Phil, an average nice guy, is madly in love with the beautiful Sophia. The only problem is that she's unaware of his existence. He tries to introduce himself but she looks right through him. When Phil discovers Sophia has a glass eye, he thinks that might be the problem, but soon realizes that she really can't see him. Perhaps he is caught in a philosophical hyperspace or dualistic reality or perhaps beautiful women are just unaware of nice guys. Armed only with a B.A. in philosophy, Phil sets out to prove his existence and win Sophia's heart. This fast moving farce is the winner of the HotCity Theatre's GreenHouse New Play Festival. The St. Louis Post-Dispatch called Cockeyed a clever romantic comedy, Talkin' Broadway called it "hilarious," while Playback Magazine said that it was "fresh and invigorating."

"When Hunny 'You go, girl!' Van Horn, Albany's flaming-est flamer, wins the state lottery's first billion-dollar payout, it's PI Don Strachey who's brought in to deal with the skeletons, some of them violent, that come crashing out of Hunny's non-closet. The eleventh Strachey mystery is fast, funny and rather sweet."

"Streamlined and impacting, Darla Worden's Cockeyed Happy could be construed as a narrative of the author himself, a compelling account of Hemingway's summers in Wyoming—and I can think of no finer compliment."—Craig Johnson, author of the Walt Longmire Mysteries In March 1928, after the phenomenal success of The Sun Also Rises, Ernest Hemingway returned to the United States with his second wife, Pauline Pfeiffer—the stylish Vogue editor and scorned "other woman" who would give up everything to be with him and, in the end, lose it all. The couple fled Paris in the wake of the huge gossip storm about the American author's affair and abandonment of his wife and son. Escaping to Wyoming's Big Horn Mountains to write while Pauline recovered from the birth of their first child, he finished A Farewell to Arms and fell in love with the land around him. Pauline soon joined him in Yellowstone and Jackson Hole. In Cockeyed Happy Darla Worden tells the little-known story of Hemingway and Pauline during six summers from 1928 to 1939—from smitten newlywed to bored, restless husband and ultimately to philanderer as he falls in love with another woman once again.

Wally the Cockeyed Cricket thinks himself a fine musician. But humans disagree. When he finds himself trapped in Mrs. Grumpydee's kitchen, he sings a sad song and Mrs. Grumpydee's ears are offended. She locks Wally in a jar and charges children a dime to see the unusual insect. But when the jar is knocked over and shatters, Wally the Cockeyed Cricket sings a different tune.

The long-overdue, definitive career retrospective of an early-20th-century gag cartoonist. From the 1880s to the Roaring 1920s, Sullivant took to the drawing board and dreamed up all manner of hilarious gag cartoons featuring animals of all stripes, perennial American "types" like hayseeds and hobos, and classic characters from myths and biblical tales. These comics haven’t seen the light of day since their initial appearance in pioneering humor magazines like Puck and Judge over a century ago. Includes essays by John Cuneo, Peter de Seve, Barry Blitt, Steve Brodner, Rick Marshall, Nancy Beiman, and R.C. Harvey, with a foreword by cartoonist Jim Woodring.

You've just boarded a plane. You've loaded your phone with your favorite podcasts, but before you can pop in your earbuds, disaster strikes: The guy in the next seat starts telling you all about something crazy that happened to him--in great detail. This is the unwelcome storyteller, trying to convince a reluctant audience to care about his story. We all hate that guy, right? But when you tell a story (any kind of story: a novel, a memoir, a screenplay, a stage play, a comic, or even a cover letter), you become the unwelcome storyteller. So how can you write a story that audiences will embrace? The answer is simple: Remember what it feels like to be that jaded audience. Tell the story that would win you over, even if you didn't want to hear it. The Secrets of Story provides comprehensive, audience-focused strategies for becoming a master storyteller. Armed with the Ultimate Story Checklist, you can improve every aspect of your fiction writing with incisive questions like these: • Concept: Is the one-sentence description of your story uniquely appealing? • Character: Can your audience identify with your hero? • Structure and Plot: Is your story ruled by human nature? • Scene Work: Does each scene advance the plot and reveal character through emotional reactions? • Dialogue: Is your characters' dialogue infused with distinct personality traits and speech patterns based on their lives and backgrounds? • Tone: Are you subtly setting, resetting, and upsetting expectations? • Theme: Are you using multiple ironies throughout the story to create meaning? To succeed in the world of fiction and film, you have to work on every aspect of your craft and satisfy your audience. Do both--and so much more--with The Secrets of Story.