Exit Here

Enter apathy. Travis is back from college for the summer, and he's just starting to settle in to the usual pattern at home: drinking, drugging, watching porn, and hooking up. But Travis isn't settling in like he used to; something isn't right. Maybe it's that deadly debauch in Hawaii, the memories of which Travis can't quite shake. Maybe it's Laura, Travis's ex, who reappears on the scene after a messy breakup and seems to want to get together -- or not. Or maybe it's his suddenly sensing how empty and messed up his life is, and wanting out. But once you're at the party, it's tough to leave...

Popular fantasy author Kelley Armstrong (Women of the Otherworld series) makes her first foray into crime fiction, with the debut of a series of non-paranormal novels featuring female assassin Nadia Stafford. Nadia Stafford is one of the world’s few female contract killers. A former cop, drummed out of the force because of a scandal, she is an expert at disguise and cool under pressure. But when fellow hitman Jack arrives on the scene, Nadia’s very private existence is seriously challenged. A series of victims are being murdered seemingly at random all over the country—different areas, different walks of life, different MOs. There is nothing to tie them together except a random page torn out of a single book: Helter Skelter. But does the Helter Skelter killer—as the hysterical media now dub him—have a real connection to Charles Manson? Or is there something even more sinister at work? Is this, in fact—as Jack believes—the carefully planned exit strategy of a fellow professional killer, determined to leave the life, but equally determined to clear up an old mistake? And, if so, which is the real victim? Now, the highly suspicious and secretive hitman community will have to break their cover—at least, to each other—and help take down this killer before the cops and the Feds discover his true connection to their own secret, exclusive society…

At cheerleading camp, Hermione is drugged and raped, but she is not sure whether it was one of her teammates or a boy on another team--and in the aftermath she has to deal with the rumors in her small Ontario town, the often awkward reaction of her classmates, the rejection of her boyfriend, the discovery that her best friend, Polly, is gay, and above all the need to remember what happened so that the guilty boy can be brought to justice.

An innovator in contemporary thought on economic and political development looks here at decline rather than growth. Albert O. Hirschman makes a basic distinction between alternative ways of reacting to deterioration in business firms and, in general, to dissatisfaction with organizations: one, “exit,” is for the member to quit the organization or for the customer to switch to the competing product, and the other, “voice,” is for members or customers to agitate and exert influence for change “from within.” The efficiency of the competitive mechanism, with its total reliance on exit, is questioned for certain important situations. As exit often undercuts voice while being unable to counteract decline, loyalty is seen in the function of retarding exit and of permitting voice to play its proper role. The interplay of the three concepts turns out to illuminate a wide range of economic, social, and political phenomena. As the author states in the preface, “having found my own unifying way of looking at issues as diverse as competition and the two-party system, divorce and the American character, black power and the failure of ‘unhappy’ top officials to resign over Vietnam, I decided to let myself go a little.”

A volunteer who helps people die with dignity finds himself on the run after a routine visit goes shockingly wrong in this “ingeniously plotted” thriller (New York Times Book Review). Retired and widowed for more than a decade, Felix Pink is waiting, not unhappily, to die a boring death. In the meantime, Felix volunteers as an Exiteer: someone who sits with terminally ill people as they die by suicide. He assists with logistics, lends moral support—and then removes the evidence. When Felix lets himself in to Number 3 Black Lane, he’s there to perform an act of charity. But just fifteen minutes later, after a tragic error, Felix is on the run from the police. Now he’s desperate to find out what went wrong, and if his simple mistake was in fact a deliberate murder.

Poetry. LGBTQIA Studies. "FLAT EXIT is about greetings and departures, learning to let go and circle back to pick up what remains. These poems jump between northeastern Victoria and Melbourne, romantic and platonic relationships, moments of personal triumph and those of shellshocked grief. "Collected here in this sequence, they explore the dislocation that occurs when moving from regional Australia to its urban mass, and when falling in and out of love for the first time. The poems revolve from homesickness, to self-care, to finding a soul to complement my own at an unexpected time and in an unexpected place--and life before and after the death of a close friend. "Many of these poems are autobiographical; some are fiction. My intention is not to be confessional but -- as Gwen Harwood says -- to establish 'a way of seeing'. Mine, as it's been so far." --Broede Carmody

Z213: EXIT marks the beginning of Dimitris Lyacos' poetic trilogy Poena Damni. Written over the course of seventeen years, in reverse order, the present publication sees the trilogy's completion. The last episode, The First Death, was the first to appear in 1996, followed by the second, Nyctivoe, in 2001. The Poena Damni trilogy both straddles and crosses perceived boundaries of literary form - from the journal-like prose in Z213: EXIT, to the elliptical monologues of the distinctly dramatic Nyctivoe, to the pared down poetic idiom in The First Death. Z213: EXIT provides the main axis for the narrative: from its description of the protagonist's escape to a barren and distorted - but nonetheless real - world will emerge the grotesque ritual of redemption, enacted by the proles of Nyctivoe and, finally, the struggle of the mutilated hero on the island in The First Death.

Frances Price is in dire straits. Scandais swirl around the recently widowed New York socialite, and her adult-aged, toddler-brained son Malcolm is no help. Cutting their Tosses, they grab their cat, Small Frank, and head for the exit. Paris becomes the backdrop for a giddy drive to self- destruction, helped along by a cast of singularly curious characters. Brimming with pathos, warmth and wit, French Exit is a riotous send-up of high society and a moving story of mothers and sons.