Jerry Terranova Books

An anti true crime novel about patricide, adolescent desire, and Southern working class life.

Portfolio optimization and construction methodologies have become an critical ingredient of asset and fund management, while at same time portfolio risk assesment has become an essential ingredient in risk management.

An impressionistic reimagining of the life of the least-known Bronte sibling, Branwell-sister of Charlotte, Emily, and Anne; only son; opium eater; and restless artist. A new edition with an introduction by Darcey Steinke.

The twentieth anniversary edition of an early autofi ction classic.

In 2000, Douglas A. Martin burst onto the American literary scene with his sexy debut novel, Outline of My Lover. Following up with three more books, including Branwell, a novel of the Brontë brother, Martin has established himself as an acclaimed and distinctive American writer of the new century. His semi-autobiographical novel Once You Go Back is about growing up in a strained working-class household transplanted to the South. In his inimitably elliptical and evocative style, Martin carefully brings out the curiosity of children on the verge of becoming sexual, and their confusion in the midst of family violence.

In this searingly honest account about addiction, Martin Douglas places his life under a microscope to consider the reasons for his relationship with narcotics and the devastating effect they have had not only on himself but on his family, his friends, and his very concept of what it means to live. After a cataclysmic overdose, two demonic entities present Martin with a panoply of pivotal events in his life, events which have culminated in a choice between living and dying.Throughout this narrative, which is in some places jarring, in others nostalgic, two options are recovery, and a perpetual struggle to quiet the voices within, or relapse, and the possibility of no return. This book is a no holds barred autobiography, an analysis almost, in which the author, with painful candidness and a poetic slant, is forced to look his addiction in its grinning face.

Martin's lyric essay, written through Kathy Acker's evocative prose, public statements, and private archives, follows Acker through New York's downtown St. Mark's Poetry Project scene, Black Mountain College, and the Beats, as Acker embarks on her own deconstructions of autobiographical and historical subjects, art procedurals, proto-conceptual writing, legacies, and spirits.