If I Get Out Alive

"He pointed his gun and bayonet at me and ordered me to stop, my jaw was bleeding, hanging down. I could not speak and I was shivering."

Here is Jim Morrison in all his complexity-singer, philosopher, poet, delinquent-the brilliant, charismatic, and obsessed seeker who rejected authority in any form, the explorer who probed "the bounds of reality to see what would happen..." Seven years in the writing, this definitive biography is the work of two men whose empathy and experience with Jim Morrison uniquely prepared them to recount this modern tragedy: Jerry Hopkins, whose famous Presley biography, Elvis, was inspired by Morrison's suggestion, and Danny Sugerman, confidant of and aide to the Doors. With an afterword by Michael McClure.

When Stephanie moves to the notoriously cheap Perry Bar neighborhood of Birmingham, she's just happy to find an affordable room for rent that's large enough not to deserve her previous room's nickname, "the cell." The eccentric — albeit slightly overly-friendly — landlord seems nice and welcoming enough, the ceilings are high, and all of the other tenants are also girls. Things aren't great, but they're stable. Or at least that's what she tells herself when she impulsively hands over enough money to cover the first month's rent and decides to give it a go. But soon after she becomes uneasy about her rash decision. She hears things in the night. Feels them. Things...or people...who aren't there in the light. Who couldn't be there, because after-all, her door is locked every night, and the key is still in place in the morning. Concern soon turns to terror when the voices she hears and presence she feels each night become hostile. It's clear that something very bad has happened in this house. And something even worse is happening now. Stephanie has to find a way out, before whatever's going on in the house finds her first. Adam Nevill's No One Gets Out Alive will chill you straight through to the core — a cold, merciless, fear-inducing nightmare to the last page. A word of caution, don't read this one in the dark.

The World Almanac's brand-new, full-color survival handbook, offering tips and tricks for getting through life in one piece! This is not your parents' scouting survival manual! From extreme weather to just leaving the house every day, who doesn't have a lot to be worried about? The World Almanac Guide to Getting Out Alive prepares readers to face any obstacle head-on, with the best possible action. Whether you're worried about surviving something uncommon (like a volcanic eruption, shark attack, or plane crash) or something more common (like going to the dentist or giving a presentation in front of your whole class), this guide has escape routes, strategies, and other ways to get to safer ground––or avoid trouble in the first place! Chapters include: Survival Skills 101 First Aid Basics Animal Attacks Dangerous Situations Well, I’m Lost When Nature Attacks Family Troubles Body Language Occupational Hazards (Surviving School and Work) Social Situations The World Almanac Guide to Getting Out Alive can prepare you for just about anything that life might throw your way––and turn any possible cause for concern into empowered action.

Named a MOST ANTICIPATED book by Vogue, Literary Hub, The Millions, Good Housekeeping, and Oprah Daily From the ​prizewinning, debut fiction author: an exhilarating virtuosic story collection about women navigating the wilds of male-dominated Alaskan society. Set in Newman's home state of Alaska, Nobody Gets Out Alive is a collection of dazzling, courageous stories about women struggling to survive not just grizzly bears and charging moose but the raw, exhausting legacy of their marriages and families. In "Howl Palace"--winner of The Paris Review's Terry Southern Prize, a Best American Short Story, and Pushcart Prize selection--an aging widow struggles with a rogue hunting dog and the memories of her five ex-husbands while selling her house after bankruptcy. In the title story, "Nobody Gets Out Alive," newly married Katrina visits her hometown of Anchorage and blows up her own wedding reception by flirting with the host and running off with an enormous mastodon tusk. Alongside stories set in today's Last Frontier--rife with suburban sprawl, global warming, and opioid addiction--Newman delves into remote wilderness of the 1970s and 80s, bringing to life young girls and single moms in search of a wilder, freer, more adventurous America. The final story takes place in a railroad camp in 1915, where an outspoken heiress stages an elaborate theatrical in order to seduce the wife of her husband's employer, revealing how this masterful storyteller is "not only writing unforgettable, brilliantly complex characters, she's somehow inventing souls" (Kimberly King Parsons, author of Black Light).

LONGLISTED FOR THE NATIONAL BOOK AWARD AND THE STORY PRIZE Named a BEST BOOK OF 2022 by Oprah Daily, Vogue, Kirkus Reviews, Library Journal, and Electric Lit From a prizewinning author comes an “electric...stunning” (Publishers Weekly, starred review) debut story collection about women navigating the wilds of male-dominated Alaskan society. Set in Newman’s home state of Alaska, Nobody Gets Out Alive is an exhilarating collection about women struggling to survive not just grizzly bears and charging moose, but the raw legacy of their marriages and families. Alongside stories set in today’s Last Frontier—rife with suburban sprawl, global warming, and opioid addiction—Newman delves into remote wilderness of the 1970s and 80s, bringing to life young girls and single moms in search of a wilder, freer, more adventurous America. The final story takes place in a railroad camp in 1915, where an outspoken heiress stages an elaborate theatrical production in order to seduce the wife of her husband’s employer. “Rich with wit and wisdom, showing us that love, marriage, and family are always a bigger and more perilous adventures than backcountry trips” (Kirkus Reviews, starred review), these keenly observed stories prove there are some questions—about love, heartbreak, and the meaning of home—that can’t be outrun, no matter how hard we try. Nobody Gets Out Alive is a dazzling foil to the adventure narratives of old.

“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."

The first full length study of Patrick McCabe’s work, We Won’t Make It Out Alive, examines the mental instability and carefully constructed childhoods that McCabe has crafted for his various characters—the one eyed quasi Al Pacino, the sequin studded transvestite, the bachelor farmer who routinely exhumes his dead mother for a chat. Beneath the grotesque and often very funny narratives of Irish border town life lurks startlingly similar pasts for these characters, spanning all of McCabe’s catalogue. As children, they were subject to the cruelty of the orphanage/workhouse or deadbeat parents numbed by alcohol. Many were victims of sexual abuse by priests and witnesses to the senseless violence brought on by political divides. The outrageous personalities and later actions of these characters often overshadow these very real beginnings, and in this book, Kate Walls discusses the impact of these social problems and how McCabe’s unfortunate (and usually well-meaning) narrators are driven crazy as a result. We Won’t Make It Out Alive also discusses how these characters fare against the Troubles of the 1970s and, for the novels set in more contemporary times, the changing Ireland of the Celtic Tiger. Being on the fringes of society themselves, McCabe’s characters have a unique vantage point from which to comment on these defining moments of social upheaval.