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Ray Bradbury, the undisputed Dean of American storytelling, dips his accomplished pen into the cryptic inkwell of noir and creates a stylish and slightly fantastical tale of mayhem and murder set among the shadows and the murky canals of Venice, California, in the early 1950s.

Toiling away amid the looming palm trees and decaying bungalows, a struggling young writer (who bears a resemblance to the author) spins fantastic stories from his fertile imagination upon his clacking typewriter. Trying not to miss his girlfriend (away studying in Mexico), the nameless writer steadily crafts his literary effort--until strange things begin happening around him.

Starting with a series of peculiar phone calls, the writer then finds clumps of seaweed on his doorstep. But as the incidents escalate, his friends fall victim to a series of mysterious "accidents"--some of them fatal. Aided by Elmo Crumley, a savvy, street-smart detective, and a reclusive actress of yesteryear with an intense hunger for life, the wordsmith sets out to find the connection between the bizarre events, and in doing so, uncovers the truth about his own creative abilities.

Halloween Night, 1954. A young, film-obsessed scriptwriter has just been hired at one of the great studios. An anonymous investigation leads from the giant Maximus Films backlot to an eerie graveyard separated from the studio by a single wall. There he makes a terrifying discovery that thrusts him into a maelstrom of intrigue and mystery—and into the dizzy exhilaration of the movie industry at the height of its glittering power.

Simone de Beauvoir’s account of the last ten years of Jean-Paul Sartre’s life provides a focus for understanding one of the greatest thinkers of the twentieth century. But the book, consisting of both a year-by-year account of Sartre’s last decade and a conversation between him and de Beauvoir about his life and work, is more than just a philosophical examination. It is also a personal dialogue of astonishing frankness that illuminates one of the most famous and complex relationships of the twentieth century.

When Myron Brinig arrived in Taos in 1933, he thought he was just passing through on his way to a screenwriting job in Hollywood. But Brinig fell in love--with the landscape, the burgeoning art colony that centered around Mabel Dodge Luhan, and especially with Cady Wells, a talented young painter who had left his wealthy family in the East to settle in Taos. Brinig remained in the West off and on for the next twenty years.

Earl Ganz centers this entertaining novel on Brinig's conflicted relationships with Taos and its denizens. Myron Brinig, a completely forgotten writer, is brought back to center stage, along with many of the people who made Taos the epicenter of the utopian avant garde in America between the world wars. Among the cast of characters are Frieda Lawrence, Robinson and Una Jeffers, and Frank Waters, with cameo appearances by Gertrude Stein and Henry Roth.

"The Taos Truth Game reminds us that Americans have historically romped through the surprisingly wide open recreational reserves of marriage, sexuality, and friendship. Mr. Ganz exposes the daily drama of life in Mabel Dodge Luhan's orbit, and offers a rare look at our queer heritage in the American West that goes beyond the usual footnote or erasure. By weaving this pastiche from a forgotten novelist's memoirs, Mr. Ganz delightfully resurrects the truth game and invites us to play a hand."--Karl Olson, PRIDE Inc., Montana's LGBT advocacy organization

"Earl Ganz pulls off the impossible trick. He raises the famous dead and restores them not just to animated life, but to the full psychological and spiritual life of the living. The Taos Truth Game is a major literary achievement. How Ganz manages to do this is one of fiction writing's enduring and humbling mysteries. This book will have a wide and enthusiastic audience, starting with me."--Rick DeMarinis, author of Apocalypse

A Very Easy Death has long been considered one of Simone de Beauvoir’s masterpieces. The profoundly moving, day-by-day recounting of her mother’s death “shows the power of compassion when it is allied with acute intelligence” (The Sunday Telegraph).
 
Powerful, touching, and sometimes shocking, this is an end-of-life account that no reader is likely to forget.