Lonely Woman

Smart, strong, independent—single women can live a fabulous life. Husband not required. Mandy Hale, also known by her many blog readers and Twitter fans as The Single WomanTM, shares her stories, advice, and enthusiasm for living life as an empowered, confident, God-centered woman who doesn’t just resign herself to being single—she enjoys it! Being single has had its stigmas, but Mandy proves it has its advantages too, and she uses wisdom and wit to inspire her fellow single ladies to celebrate and live fully in the life God has given them. Mandy encourages her readers on subjects such as taking chances, building friendships, letting go, and finding a greater purpose. With her help, readers can stop worrying about happily ever after and discover a happy life instead.

First published serially in the Yiddish daily newspaper di Varhayt in 1916–18, Diary of a Lonely Girl, or The Battle against Free Love is a novel of intimate feelings and scandalous behaviors, shot through with a dark humor. From the perch of a diarist writing in first person about her own love life, Miriam Karpilove’s novel offers a snarky, melodramatic criticism of radical leftist immigrant youth culture in early twentieth-century New York City. Squeezed between men who use their freethinking ideals to pressure her to be sexually available and nosy landladies who require her to maintain her respectability, the narrator expresses frustration at her vulnerable circumstances with wry irreverence. The novel boldly explores issues of consent, body autonomy, women’s empowerment and disempowerment around sexuality, courtship, and politics. Karpilove immigrated to the United States from a small town near Minsk in 1905 and went on to become one of the most prolific and widely published women writers of prose in Yiddish. Kirzane’s skillful translation gives English readers long-overdue access to Karpilove’s original and provocative voice.

Growing up is always hard, but especially when so many think you're a washed-up has-been at twenty-two. Jena Lin plays the violin. She was once a child prodigy and now uses sex to fill the void left by fame. She's struggling a little. Her professional life comprises rehearsals, concerts, auditions and relentless practice; her personal life is spent managing the demands of her strict family and creative friends, and hooking up. And then she meets Mark - much older and worldly-wise - who consumes her. But at what cost to her dreams? When Jena is awarded an internship with the New York Philharmonic, she thinks the life she has dreamed of is about to begin. But when Trump is elected, New York changes irrevocably and Jena along with it. Is the dream over? As Jena's life takes on echoes of Frances Ha, her favourite film, crucial truths are gradually revealed to her. A Lonely Girl is a Dangerous Thing explores female desire and the consequences of wanting too much and never getting it. It is about the awkwardness and pain of being human in an increasingly dislocated world - and how, in spite of all this, we still try to become the person we want to be. This is a dazzling and original debut from a young writer with a fierce, intelligent and audacious voice. 'I absolutely inhaled this book. Gutsy, bold and surprising, with a darkness that draws you in and keeps you hanging onto every word.' Bri Lee, author of Eggshell Skull 'Jessie Tu's writing is fierce and bold; I read this novel with escalating excitement, galvanised by the emergence of a powerful new voice.' Christos Tsiolkas, author of Damascus 'Searing, unflinching and unapologetic, Jessie Tu is a fearless talent.' Sophie Hardcastle, author of Below Deck

Replete with madwomen, murderers, musicians, and mystics, Lonely Woman dramatically interweaves the lives of five women. It remains Takako Takahashi's most sustained and multifaceted fictional realization of her concept of "loneliness." ...

These journal entries comprise two volumes of selections (Vol. I, 1973-1982, Vol. II, 1983-2003). Volume I includes an Introduction and some biographical memories. As Stephane Mallarme considered literature the antithesis of journalism, a journal is often the antithesis of a diary. It is of less interest to record moods and events, or barriers to self-realization, than to have ideas and insights about these. As a journal-keeper, I am generally disinterested in diurnal details, unless these form the compost of deeper exploration or revelation, seeking insight into my condition, not simply its description. A journal, therefore, is often more complex and difficult than a diary, far less personal in depictions of daily fortune, using everyday experiences as a stepstool (at the least) to peer beyond the walls of psychological enclosure. I did not choose the journal form to mask the personal, to belittle or avoid it, but to reflect my most intimate assessment of the personal as contributing to something greater: comprehension. It is not enough merely to record the frustrations, joys or barriers of living, without appraising these for what they represent and suggest, where we learn not merely reiterate. The ideal criteria of selection and discrimination apply not only to ones journal, but to life as well, adding a mythological drama and perspective that immersion alone does not permit. In some ways, journalizing is similar in impulse to the pastoral ethos or motif familiar in contemplative writing from Virgil to Thoreau: one withdraws from active society, toward natural or rural settings, in search of some form of respite, then returns to tell of their discoveries. Some critics have seen this as the organizing design of most North American fables--in fact, as the American mythology, seeking to heal the serious schism between our natural psyche and its more devastated environment; that is, a search for a middle ground (or via media) between the primitive and the technologically complex. This volume of journal selections resembles that motif, focusing on the withdrawal phase of a generally recuperative metaphysical cycle. Such solitude is intentional, a critical phase in the live/withdraw/live-again cycle of spiritual refreshment. A recuperative isolation can be experienced daily, if one is discriminating in how their time is spent, but is usually gained more intensely over long, purposefully reclusive periods. The motivations for my withdrawal were several, perhaps the strongest a propensity (as described of another Irish writer) for being nearly overcome by the variety of life. If not overcome, certainly fatigued by events in and of themselves. A reflective silence seemed essential to examine the roots of this propensity. An ideal of pure time, free of most distractions (human or otherwise), was also necessary for writing of the sort that interested me, the personally contemplative or mystical. Only through such reflection could I ever achieve a meaningful connection with the more active life that surrounded me. The predominant experience of solitude--especially in a society where the value of withdrawal is suspect or sporadic--is the figurative isolation one experiences throughout the entire cycle of withdrawal and re-emergence. It is generally difficult for lovers of action to comprehend this attraction to non-doing. One of the aims of solitude is to reunite philosophy and religion, or rather philosophy and awe, to not accept the social impoverishment of these universal needs for knowledge and worship. The asceticism of retreat was not solely the traditional and philosophical appeal of simplicity, but the freedom from income-producing and time-consuming work it permitted. For the solitary, however, an ideal of pure time must be united with an ideal of intimate association, if the mystical quest is to be emotionally as well a

From her first assignment in 1998 to explore an increase in the number of missing women to the harrowing 2002 interrogation of convicted serial killer Robert Pickton, Lori Shenher tells a story of massive police failure—failure of the police to use the information about Pickton available to them, failure to understand the dark world of drug addiction and sex work, and failure to save more women from their killer. Shenher explains how police unwillingness to believe the women were missing or murdered, jurisdictional squabbles, and a fear of tunnel vision conspired to leave women unprotected and vulnerable to a serial killer nearly three years after she first received a tip that Pickton could be responsible. She unflinchingly reveals her own pain and psychological distress as a result of these events, which left her unable to work with or trust the police and the criminal justice system. That Lonely Section of Hell reveals the deeper truths behind the causes of this tragedy and the myriad ways the system—and society—failed to protect vulnerable people.

Meet JeriLee Randall, aspiring actress, ambitious writer, and sexual powerhouse. It is this ambition that takes her away from her tiny hometown of Port Clare and sets her on a collision course with her future. Surviving on determination and seduction, she makes her way to Broadway and then on to Hollywood. The bright lights mask a deeper darkness, and JeriLee is quickly drawn into a world of greed, drugs, casting couches, and smooth-talking power players. She struggles to hold on to her honesty and the code of ethics she developed in her youth. More than anything else, she struggles to hold on to her dreams of success and stardom. It will take all her strength and cunning to escape Hollywood's death grip and beat the power elite at their own game. Harold Robbins, the author who rewrote the rules for erotic fiction, turns Hollywood on its ear in The Lonely Lady.