Despite what Scarface might lead one to believe, violence was not the dominant characteristic of the cocaine business. It was corruption: the dirty cops, agents, lawyers, judges and politicians who made the drug world go round. And no one managed that carousel of dangerous players better than Willy Falcon. Los Muchachos, the syndicate founded by Falcon, thrived as a major cocaine distribution network in the US from the late 1970s into the early 1990s. At their height, Los Muchachos made more than a hundred million dollars a year. T. J. English has been granted unprecedented access to the inner workings of Los Muchachos, sitting down with Willy Falcon and his associates for many lengthy interviews, and revealing never-before-understood details about drug trafficking.

Despite what Scarface might lead one to believe, violence was not the dominant characteristic of the cocaine business. It was corruption: the dirty cops, agents, lawyers, judges and politicians who made the drug world go round. And no one managed that carousel of dangerous players better than Willy Falcon. Los Muchachos, the syndicate founded by Falcon, thrived as a major cocaine distribution network in the US from the late 1970s into the early 1990s. At their height, Los Muchachos made more than a hundred million dollars a year. T. J. English has been granted unprecedented access to the inner workings of Los Muchachos, sitting down with Willy Falcon and his associates for many lengthy interviews, and revealing never-before-understood details about drug trafficking.

From true-crime legend T. J. English, the epic, behind-the-scenes saga of Los Muchachos, one of the most successful cocaine trafficking organizations in American history --- a story of glitz, glamour and organized crime set against 1980s Miami.

Despite what Scarface might lead one to believe, violence was not the dominant characteristic of the cocaine business. It was corruption: the dirty cops, agents, lawyers, judges and politicians who made the drug world go round. And no one managed that carousel of dangerous players better than Willy Falcon.

A Cuban exile whose family escaped Fidel Castro’s Cuba when he was 11 years old, Falcon, as a teenager, became active in the anti-Castro movement. He began smuggling cocaine into the US as a way to raise money to buy arms for the Contras in Central America. This counter-revolutionary activity led directly to Willy’s genesis as a narco. He and his partners built an extraordinary international organization from the ground up. Los Muchachos, the syndicate founded by Falcon, thrived as a major cocaine distribution network in the U.S. from the late 1970s into the early 1990s. At their height, Los Muchachos made more than a hundred million dollars a year. At the same time, Willy, his brother Tavy Falcon, and partner Sal Magluta became famous as championship powerboat racers.

Cocaine, used by everyone from A-list celebrities to lawyers and people in law enforcement, came to define an era, and for a time, Willy Falcon and those like him --- major suppliers, of whom there were only a few --- became stars in their own right. They were the deliverers of good times, at least until the downside of persistent cocaine use became apparent: delusions of grandeur, psychological addiction, financial ruin. Thus, the War on Drugs was born, and federal authorities came after Falcon and his crew with a vengeance. Willy found himself on the run, his marriage and family life in shambles, the halcyon days of boat races and lavish trips to Vegas and parties at the Mutiny night club seemingly a distant memory.

T. J. English has been granted unprecedented access to the inner workings of Los Muchachos, sitting down with Willy Falcon and his associates for many lengthy interviews, and revealing never-before-understood details about drug trafficking. A classic of true-crime writing from a master of the genre, THE LAST KILO traces the rise and fall of a true cocaine empire --- and the lives left in its wake.

Audiobook available, read by Christian Barillas

The stupendous publication of Edna Ferber's GIANT in 1952 set off a storm of protest over the novel's portrayal of Texas manners, money and mores, with oil-rich Texans threatening to shoot, lynch or ban Ferber from ever entering the state again. In GIANT LOVE, Julie Gilbert writes of the internationally bestselling Ferber, one of the most widely read writers in the first half of the 20th century --- her evolution from mid-west maverick girl-reporter to Pulitzer Prize-winning, beloved American novelist, from her want-to-be actress days to becoming Broadway's acclaimed prize-winning playwright whose collaborators were, along with Ferber herself, the most successful playwrights of their time. Here is the making of an American classic novel and the film that followed in its wake.

The stupendous publication of Edna Ferber's GIANT in 1952 set off a storm of protest over the novel's portrayal of Texas manners, money and mores, with oil-rich Texans threatening to shoot, lynch or ban Ferber from ever entering the state again. In GIANT LOVE, Julie Gilbert writes of the internationally bestselling Ferber, one of the most widely read writers in the first half of the 20th century --- her evolution from mid-west maverick girl-reporter to Pulitzer Prize-winning, beloved American novelist, from her want-to-be actress days to becoming Broadway's acclaimed prize-winning playwright whose collaborators were, along with Ferber herself, the most successful playwrights of their time. Here is the making of an American classic novel and the film that followed in its wake.

A book that explores the great American novelist and playwright Edna Ferber, winner of the Pulitzer Prize for Fiction, whose work was made into many Academy Award-winning movies; the writing of her controversial, internationally bestselling novel about Texas; and the making of George Stevens’ Academy Award-winning epic film of the same name, Giant.

The stupendous publication of Edna Ferber's GIANT in 1952 set off a storm of protest over the novel's portrayal of Texas manners, money and mores with oil-rich Texans threatening to shoot, lynch or ban Ferber from ever entering the state again.

In GIANT LOVE, Julie Gilbert writes of the internationally bestselling Ferber, one of the most widely read writers in the first half of the 20th century --- her evolution from mid-west maverick girl-reporter to Pulitzer Prize-winning, beloved American novelist, from her want-to-be actress days to becoming Broadway's acclaimed prize-winning playwright whose collaborators (George S. Kauffman and Moss Hart, among them) were, along with Ferber, herself, the most successful playwrights of their time.

Here is the making of an American classic novel and the film that followed in its wake. We see how George Stevens, Academy-Award winning director, wooed the prickly, stubborn Ferber, ultimately getting her to agree to everything including writing, for the first time ever, a draft of a screenplay, to her okaying James Dean for the part of the ranch hand, Jett Rink, something she was dead set against.

Here is the casting of Elizabeth Taylor, Rock Hudson, James Dean and their backstory triangle of sex and seduction --- each becoming a huge star because of the film; the frustrated Stevens trying to direct the instinctive but undisciplined Dean and the months-long landmark filming in the sleepy town of Marfa, Texas, suddenly invaded by a battalion of a film crew and some of the biggest stars in the rising celebrity culture.

Audiobook available, read by Maggi-Meg Reed

Enola is approaching 30 and feels adrift in a way she thought she would have beaten by now. She wants to be a writer but can't finish a first draft; she romanticizes her childhood but won’t speak to her mother; she has never been in a serious relationship but yearns to be one-half of a couple that DIYs together during the weekends. Enter: enigmatic writer. Enola falls in love and starts to dream about their perfect future, but the reality is far from perfect. He is distant, hangs out with his ex and has dark moods. Her best friend begs her to end it, but she can’t. Enola might feel like she’s going crazy at times, but she wants him. She needs him. She would die without him. Over the next 24 hours (and two years), everything that Enola thinks she knows is about to unravel.

Enola is approaching 30 and feels adrift in a way she thought she would have beaten by now. She wants to be a writer but can't finish a first draft; she romanticizes her childhood but won’t speak to her mother; she has never been in a serious relationship but yearns to be one-half of a couple that DIYs together during the weekends. Enter: enigmatic writer. Enola falls in love and starts to dream about their perfect future, but the reality is far from perfect. He is distant, hangs out with his ex and has dark moods. Her best friend begs her to end it, but she can’t. Enola might feel like she’s going crazy at times, but she wants him. She needs him. She would die without him. Over the next 24 hours (and two years), everything that Enola thinks she knows is about to unravel.

Eliza Moss' intoxicating debut novel is a dark, intense and compelling account of what happens when a young woman falls in love with the wrong kind of man.

Enola is approaching 30 and everything feels like a lot. The boxes aren’t ticked, and she feels adrift in a way she thought she would have beaten by now. She wants to be a writer but can't finish a first draft; she romanticizes her childhood but won’t speak to her mother; she has never been in a serious relationship but yearns to be one half of a couple that DIYs together during the weekends.

Enter: enigmatic writer. Enola falls in love and starts to dream about their perfect future: the wedding, the publishing deals, the house in Stoke Newington. But the reality is far from perfect. He’s distant. But she’s a Cool Girl, she doesn’t need to hear from him every day. He hangs out with his ex. But she's a Cool Girl, she’s not insecure. Is she? He has dark moods. But he’s a creative, that’s part of his "process." Her best friend begs her to end it, but Enola can’t. She's a Cool Girl.

She might feel like she’s going crazy at times, but she wants him. She needs him. She would die without him...that's what love is, isn’t it? Over the next 24 hours (and two years), everything that Enola thinks she knows is about to unravel, and she has to think again about how she sees love, family and friendship and --- most importantly --- herself.

With notes of "Fleabag" and "I May Destroy You" but with the sparseness and emotional accuracy of writers like Ali Smith and Lily King, WHAT IT'S LIKE IN WORDS is a close examination of what it means to experience the intense emotional uncertainty of first love.

Audiobook available, read by Victoria Blunt