Williams Weird Wednesday

Fiction, Reading Recovery Level 22, F&P level M, DRA Level 28, Theme Childrens Fiction, Stage TRANSITIONAL, Character

Reading assessment book for use with the running records on the Columbia University Teachers College Reading & Writing Project website.William is organized and ready for Wednesday, but not this weird Wednesday. F&P: J, RR/DLL: 18, DRA2: 18, Lexile: 590L, Stage: Transitional-Early Fluent, Type: Fiction

PULITZER PRIZE FINALIST • From one of our most heralded writers comes the “poetic, disturbing, yet very funny” (The Washington Post Book World) life-and-death adventures of three misfit teenagers in the American desert. Alice, Corvus, and Annabel, each a motherless child, are an unlikely circle of friends. One filled with convictions, another with loss, the third with a worldly pragmatism, they traverse an air-conditioned landscape eccentric with signs and portents—from the preservation of the living dead in a nursing home to the presentation of the dead as living in a wildlife museum—accompanied by restless, confounded adults. A father lusts after his handsome gardener even as he's haunted (literally) by his dead wife; a heartbroken dog runs afoul of an angry neighbor; a young stroke victim drifts westward, his luck running from worse to awful; a sickly musician for whom Alice develops an attraction is drawn instead toward darker imaginings and solutions; and an aging big-game hunter finds spiritual renewal through his infatuation with an eight-year-old—the formidable Emily Bliss Pickless. With nature thoroughly routed and the ambiguities of existence on full display, life and death continue in directions both invisible and apparent. Gloriously funny and wonderfully serious, The Quick and the Dead limns the vagaries of love, the thirst for meaning, and the peculiar paths by which all creatures are led to their destiny. A panorama of contemporary life and an endlessly surprising tour de force: penetrating and magical, ominous and comic, this is the most astonishing book yet in Joy Williams's illustrious career. Joy Williams belongs, James Salter has written, "in the company of Céline, Flannery O'Connor, and Margaret Atwood."

Willie and Liberty are drifters. They break into Florida vacation homes while the owners are away, stay a while, and then move on. They have been lovers since they were teenagers, yet Liberty now senses that Willie is drifting away from her—that their search, so relentless and mysterious, is becoming increasingly dangerous. An exhilarating cast of characters reflects this search, which is not just for home, but for self.

When we first meet Pearl - young in years but advanced in her drinking - she's sitting at a hotel bar in Florida, throwing back gin and tonics. Cradled in the crook of her arm is her infant son. But the relief she feels at having fled her abusive husband, and the Northeastern island his family calls home, doesn't last for long. Soon she's being shepherded back. The island, for Pearl, is a place of madness and pain, and her drinking might dull the latter but it spurs on the former. Through the lens of Pearl's fragile consciousness, readers encounter the horror and triumph of both childhood and motherhood. With language that flits between exuberance and elegy, the plainspoken and the poetic, Joy Williams has created a modern fairy-tale, entirely original and entirely consuming.

A New York Times bestseller | Soon to be a major motion picture “Witty, endearing and greatly entertaining.” —Wall Street Journal “Don’t trust anyone, including the four septuagenarian sleuths in Osman’s own laugh-out-loud whodunit.” —Parade Four septuagenarians with a few tricks up their sleeves A female cop with her first big case A brutal murder Welcome to... THE THURSDAY MURDER CLUB In a peaceful retirement village, four unlikely friends meet weekly in the Jigsaw Room to discuss unsolved crimes; together they call themselves the Thursday Murder Club. When a local developer is found dead with a mysterious photograph left next to the body, the Thursday Murder Club suddenly find themselves in the middle of their first live case. As the bodies begin to pile up, can our unorthodox but brilliant gang catch the killer, before it's too late?

Drawings and verse point out the many things that are wrong one wacky Wednesday.

In Vicky Swanky Is a Beauty, Diane Williams lays bare the urgency and weariness that shape our lives in stories honed sharper than ever. With sentences auguring revelation and explosion, Williams's unsettling stories—a cryptic meeting between neighbors, a woman's sexual worries, a graveside discussion, a chimney on fire—are narrated with razor-sharp tongues and naked, uproarious irreverence. These fifty stories hum with tension, each one so taut that it threatens to snap and send the whole thing sprawling—the mess and desire, the absurdity and hilarity, the bruises and bleeding, the blushes and disappointments and secrets. An audacious, unruly tour de force, Vicky Swanky Is a Beauty cements Diane Williams' position as one of the best practitioners of the short form in literature today.

Norm and Lynn are having problems. Big problems. Rather than hide from the issues, they go on a marriage retreat together while Stephanie goes to cheerleading camp and Diana stays with her father. But when everyone returns, things seem worse than ever. So bad, in fact, it looks like Stephanie and Diana may not have to put up with each other anymore, which is what they wanted all along. This final book in the Sisters in all Seasons series brings the story of Stephanie and Diana to a close, and shows what happens when two opposites become friends, and maybe sisters.