A riveting and sexually charged posthumous novel from the author of Leaving Las Vegas. “No contemporary novelist has plumbed so deeply into the human heart, and none has paid a steeper price for visiting those depths than John O’Brien. Better shows us what America lost when the author of Leaving Las Vegas took his own life. Unflinching, dark-souled, cry-until-you-laugh authentic . . . each word of this novel burns as true and doomed as a lit match dropped in a shot of whiskey. John O’Brien was a writer who lived and died with every sentence. Better is testament to the miracle of what the man accomplished—and what he might have accomplished had not death seemed like a better alternative. No one who reads this book will walk away unmoved.” —Jerry Stahl, author of Permanent Midnight and Pain Killers Within the walls of a foreboding mansion situated in the hills overlooking Los Angeles, the suave Double Felix plays host to an array of beautiful women as well as his unlikely sidekick William. The mysterious patriarch grants his live-in guests’ every wish while asking nothing in return. Days begin with William and Double Felix discussing their conquests with the ladies over Morning Vodka, a ritual that is nonetheless edged in homoerotic tension. From there the drinking continues, only to be interrupted by some miscellany—perhaps a rerun of The Love Boat or some casual sex. But the ongoing torpor has been upset by the house’s newest arrival, a stunning young woman named Laurie, with whom both Double Felix and William become hopelessly smitten. Trash-talking Maggie and Zipper, the hooker who flew in on a trick and never left, smolder with envy while Laurie garners more and more attention from the men. As tensions spiral out of control, the house—an almost anthropomorphic entity in itself—ejects some of its denizens while further ensnaring others. Eventually, each faces the same ultimatum: leave or stay. The decision is fraught with consequence. Better delves deep into the psyche of its subjects through an intricate web of cultural icons, loyalty, covert communications, and sex. O’Brien’s characters loom in and out of a surreal world that seems to float high above the rest of us, but is in fact firmly tethered to the human condition.

This “brutal and unflinching” novel of fleeting love in Sin City inspired the film starring Nicholas Cage and Elizabeth Shue (Jay McInerney, author of Bright Lights, Big City). John O’Brien’s debut novel, Leaving Las Vegas, is an emotionally wrenching story of a woman who embraces life and a man who rejects it; a powerful tale of hard luck, hard drinking, and a relationship of tenderness and destruction. An avowed alcoholic, Ben drinks away his family, friends, and, finally, his job. With deliberate resolve, he burns the remnants of his life and heads for Las Vegas to end it all in the last great binge of his hopeless life. On the Strip, he picks up Sera, a prostitute, in what might have become another excess in his self-destructive jag. Instead, their chance meeting becomes a respite on the road to oblivion as they form a bond that is as mysterious as it is immutable.

A native of Ireland, John O'Brien heeded his adopted state's call and cast his lot with the Confederacy. Shortly after his enlistment he served in the Army of Tennessee. The diary begins prior to the battle of Murfreesboro, where he was captured. The confusion of battle, the ordeal of being in the hospital, and the uncertainty of life as a prisoner of war are all vividly portrayed.

The Prehistory of Missouri is a fascinating examination of the objects that were made, used, and discarded or lost by Missouri's prehistoric inhabitants over a period of more than eleven thousand years. Missouri's numerous vegetation zones and its diverse topography encompassed extreme variations, forcing prehistoric populations to seek a wide range of adaptations to the natural environment. As a result, Missouri's archaeological record is highly complex, and it has not been fully understood despite the vast amount of fieldwork that has been conducted within the state's borders. In this groundbreaking account, Michael J. O'Brien and W. Raymond Wood explore the array of artifacts that have been found in Missouri, pinpointing minute variations in form. They have documented the ranges in age and distribution of the individual forms, explaining why certain forms persisted while others quickly disappeared. Organized by chronological periods such as Archaic, Woodland, and Mississippian, the book provides a comprehensive survey of what is currently known about Missouri's prehistoric peoples, often revealing how they made their living in an ever-changing world. The authors have applied rigorous standards of archaeological inquiry. Their main objective--demonstrating that the archaeological record of Missouri can be explained in scientific terms--is accomplished. With more than 235 line drawings and photographs, including 23 color photos, The Prehistory of Missouri will appeal to anyone interested in archaeology, particularly in the artifacts and the dates of their manufacture, as well as those interested in the dichotomy between interpretation and explanation. Intended for the amateur as well as the professional archaeologist, this book is sure to be the new standard reference on Missouri's prehistory, fulfilling current needs that extend beyond those met by Carl Chapman's earlier classic, The Archaeology of Missouri.

In the fall of 1723, two London theaters staged, almost simultaneously, pantomime performances of the Faust story. Unlike traditional five-act plays, pantomime—a bawdy hybrid of dance, music, spectacle, and commedia dell'arte featuring the familiar figure of the harlequin at its center—was a theatrical experience of unprecedented accessibility. The immediate popularity of this new genre drew theater apprentices to the cities to learn the new style, and pantomime became the subject of lively debate within British society. Alexander Pope and Henry Fielding bitterly opposed the intrusion into legitimate literary culture of what they regarded as fairground amusements that appealed to sensation and passion over reason and judgment. In Harlequin Britain, literary scholar John O'Brien examines this new form of entertainment and the effect it had on British culture. Why did pantomime become so popular so quickly? Why was it perceived as culturally threatening and socially destabilizing? O’Brien finds that pantomime’s socially subversive commentary cut through the dampened spirit of debate created by Robert Walpole's one-party rule. At the same time, pantomime appealed to the abstracted taste of the mass audience. Its extraordinary popularity underscores the continuing centrality of live performance in a culture that is most typically seen as having shifted its attention to the written text—in particular, to the novel. Written in a lively style rich with anecdotes, Harlequin Britain establishes the emergence of eighteenth-century English pantomime, with its promiscuous blending of genres and subjects, as a key moment in the development of modern entertainment culture.

As the question will doubtless be asked why we have presumed to write upon a subject which has already been treated so largely and so often by others, we make the same reply that one of the ancient Fathers did when a similar question was proposed to him. “This advantage,” said he, “we owe to the multiplicity of books on the same subject: that one falls in the way of one man, and another best suits the level or comprehension of another. Everything that is written does not come into the hands of all, and hence, perhaps, some may meet with my book who have heard nothing of others which have treated better of the same subject.” Aeterna Press

Perhaps no one has done more in the last 30 years to advance thinking in the metaphysics of modality than has Alvin Plantinga. Collected here are some of his most important essays on this influential subject. Dating back from the late 1960's to the present, they chronicle the development of Plantinga's thoughts about some of the most fundamental issues in metaphysics: what is the nature of abstract objects like possible worlds, properties, propositions, and such phenomena? Are there possible but non-actual objects? Can objects that do not exist exemplify properties? Plantinga gives thorough and penetrating answers to all of these questions and many others. This volume contains some of the best work in metaphysics from the past 30 years, and will remain a source of critical contention and keen interest among philosophers of metaphysics and philosophical logic for years to come.