Stork Raving Mad

Includes excerpt from The real macaw (p. [291]-304).

It's time for more outrageous and feathered fun in the award-winning, laugh-out-loud Meg Langslow series. When her old friend Karen drops by with two-year-old son Timmy, Meg Langslow reluctantly agrees to babysit "just for a little while." But when nightfall comes, the toddler is still in residence and Karen isn't answering any phone calls. Meg decides she must find out what's happening, so the next morning, with Timmy in tow, she retraces her friend's footsteps---and begins to suspect that Karen's disappearance is tied to at least one serious crime. Has Karen been killed or kidnapped? Is she on the run from the bad guys? Or is she one of the bad guys? The police don't seem to care, so Meg once again plays sleuth---this time with a toddler as her sidekick. As usual, Meg's extended family adds to the complications in her life. What covert animal welfare project are Dad and the curmudgeonly zoologist Dr. Montgomery Blake working on---and will Meg have to make another late-night trip to bail them out of jail? Why does Meg's brother keep disappearing---is he merely trying to avoid babysitting, or is he involved in something more mysterious? Will taking care of Timmy dampen newly married Meg and Michael's enthusiasm for starting a family of their own? And are any of Meg's relatives reliable enough to be trusted with a two-year-old---especially a two-year-old whose whereabouts might be of interest to some very dangerous people? Donna Andrews once again proves her skill as one of the funniest, most entertaining mystery authors around.

In 2076, the sprawling Baby Boom generation is down to one last survivor, 111-year-old Martin McCrae. The distinction earns McCrae a suite at a New York City museum where contestants pay a small fee to spend fifteen minutes with him as part of an ultimate ghoul pool. If they are in the room when he expires, they win a multi-million dollar jackpot. While silently praying he will die for them, contestants ask McCrae genial questions about the past, ultimately triggering recollections of rollicking times when McCrae waged war with boredom. As the ghoul pool grinds on for five years, McCrae eventually lapses into a coma and the contestants begin to resent him for his unusual longevity. While conspiracy theorists speculate that McCrae has been dead for years, his wealthy friend revives him with an offer to secure eternal life. McCrae must now decide whether to surrender to the temptation or welcome a natural death. The Last Baby Boomer is a coming-of-really-old age satire of a dying epoch that shines a light on the illuminating fact that even though we all die, only one gets to die last. But nobody wins until death does.

LINE YOUR DUCKS UP IN A ROW.

The brilliantly funny and talented Andrews delivers another winner in the acclaimed avian-themed Meg Langlsow series readers have come to love. Martin's Press.

When someone rigs a cage full of skunks in the choir loft of the New Life Baptist Church, Meg Langslow must stop holiday pranksters from destroying the annual pre-Christmas concert, but when murder enters the picture, Meg must save Christmas from a vengeful killer.

Meg Langslow plays hostess to a gaggle of penguins and investigates a puzzling murder in the latest delightful mystery from the bestselling author of "No Nest for the Wicket." Martin's Press.

Film Composers in America is a landmark in the history of film. Here, renowned film scholar Clifford McCarty has attempted to identify every known composer who wrote background musical scores for films in the United States between 1911 and 1970. With information on roughly 20,000 films, the book is an essential tool for serious students of film and a treasure trove for film fans. It spans all types of American films, from features, shorts, cartoons, and documentaries to nontheatrical works, avant-garde films, and even trailers. Meticulously researched over 45 years, the book documents the work of more than 1,500 composers, from Robert Abramson to Josiah Zuro, including the first to score an American film, Walter C. Simon. It includes not only Hollywood professionals but also many composers of concert music--as well as popular music and other genres--whose cinematic work has never before been fully catalogued. The book also features an index that lets readers quickly find the composer for any American film through 1970. To recover this history, much of which was lost or never recorded, McCarty corresponded with or interviewed hundreds of composers, arrangers, orchestrators, musical directors, and music librarians. He also conducted extensive research in the archives of the seven largest film studios--Columbia, MGM, Paramount, RKO, 20th Century-Fox, Universal, and Warner Bros.--and wherever possible, he based his findings on the most reliable evidence, that of the manuscript scores and cue sheets (as opposed to less accurate screen credits). The result is the definitive guide to the composers and musical scores for the first 60 years of American film.