If I Knew Don T You Think I D Tell You

From cat food to death, bra size to spirituality, family to goose poop (yes, goose poop), these are the journals of Canadian recording artist Jann Arden. Her writing is wry and insightful, confessional and compassionate. Also included in if i knew, don't you think i'd tell you? are Jann's line drawings and open spaces inviting readers to think out loud, be human, draw, emote, express, participate, live, be a piece of it all OCo in other words, journal with Jann."

From cat food to death, bra size to spirituality, family to goose poop, these are the journals of recording artist Jann Arden.

NATIONAL BESTSELLER Jann Arden—bestselling author, recording artist and late-blooming TV star—is back with this funny, heartfelt and fierce memoir on becoming a woman of a certain age. The power, gravity and freedom she's found at fifty-seven are superpowers she believes all of us can unleash. Digging deep into her strengths, her failures and her losses, Jann Arden brings us an inspiring account of how she has surprised herself, in her fifties, by at last becoming completely her own person. Like many women, it took Jann a long time to realize that trying to be pleasing and likeable and beautiful in the eyes of others was a loser's game. Letting it rip, and damning the consequences, is not only liberating, it's a hell of a lot of fun: "Being the age I am—that so many women are—is just the best time of my life." Jann weaves her own story together with tales of her mother, grandmother, and great grandmother, and the father she came close to hating, to show her younger self—and all of us—that fear and avoidance is no way to live. "What I'm thinking about now aren't all the ways I can try to hang on to my youth or all the seconds ticking by in some kind of morbid countdown to death," she writes, "but rather how I keep becoming someone I always hoped I could be. If I'm lucky one day a very old face will look back at me from the mirror, a face I once shied away from. I will love that old woman ferociously, because she has finally figured out how to live a life of purpose—not in spite of but because of all her mistakes and failures."

This book was written in an effort to expose corruption in the government and to free an innocent man. Francke was the head of the Prison system. He discovered a ring which was stealing millions of dollars annually. He was set to testify before the legislature. He was murdered on the eve of that event. And the top people in government were in on the conspiracy to convict Frank Gable. Now, more than sixteen years later, Jonathan Rundy enlists his extreme intellect to solve this case. And his solution is shocking This is a must read for all sleuths. How can the government become so evil? Truth, as they say, is stranger than fiction

(Applause Books). Applause Theatre & Cinema Books is proud to announce the publication of the first collected anthology of gay and lesbian plays from the entire span of the twentieth century, sure to find wide acceptance by general readers and to be studied on campuses around the world. Among the ten plays, three are completely out of print. Included are The God of Venegeance (1918) by Sholom Ash, the first play to introduce lesbian characters to an English-language audience; Lillian Hellman's classic The Children's Hour (1933), initially banned in London and passed over for the Pulitzer Prize because of its subject matter; and Oscar Wilde (1938) by Leslie and Sewell Stokes, a major award-winning success that starred Robert Morley. More recent plays include Mart Crowley's The Boys in the Band (1968), the first hit "out" gay play that was the most realistic and groundbreaking portrayal of gays on stage up to that time; Martin Sherman's Bent (1978), which daringly focused on the love between two Nazi concentration camp inmates and starred Richard Gere; William Hoffman's As Is (1985), which was one of the first plays to deal with the AIDS crisis and earned three Tony Award nominations; and Terrence McNally's Love! Valour! Compassion! (1994), which starred Nathan Lane and won the Tony Award for Best Play. The other plays are Edouard Bourdet's The Captive (1926), Ruth and Augustus Goetz's The Immoralist (1954) and Frank Marcus' The Killing of Sister George (1967). Forbidden Acts includes a broad range of theatrical genres: drama, tragedy, romance, comedy and farce. They remain vibrant and relevant today as a testament of art's ability to persevere in the face of oppression.