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PUBLISHERS WEEKLY BEST-SELLERS - W/E 04.26.15

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Publishers Weekly best-sellers for week ending April 26:


HARDCOVER FICTION

1. “Memory Man” by David Balducci (Grand Central Publishing)

2. “The Girl on the Train” by Paula Hawkins (Riverhead)

3. “The Liar” by Nora Roberts (G.P. Putnam’s Sons)

4. “All the Light We Cannot See” by Anthony Doerr (Scribner)

5. “The Bone Tree” by Greg Iles (Riverhead)

6. “God Help the Child” by Toni Morrison (Knopf)

7. “Every Fifteen Minutes” by Lisa Scottoline (St. Martin’s Press)

8. “The Stranger” by Harlan Coben (Dutton)

9. “Miracle at Augusta” by James Patterson and Peter de Jonge (Little, Brown)

10. “At the Water’s Edge” by Sara Gruen (Spiegel & Grau)

11. “Garden of Lies” by Amanda Quick (G.P. Putnam’s Sons)

12. “The Nightingale” by Kristin Hannah (St. Martin’s Press)

13. “NYPD Red 3” by James Patterson and Marshall Karp (Little, Brown)

14. “Hot Pursuit” by Stuart Woods (G.P. Putnam’s Sons)

15. “The Patriot Threat” by Steve Barry (Minotaur)


HARDCOVER NONFICTION

1. “Bill O’Reilly’s Legends and Lies: The Real West” by Bill O’Reilly and David Fisher (Henry Holt and Co.)

2. “The Whole 30” by Melissa Hartwig and Dallas Hartwig (Houghton Mifflin Harcourt)

3. “And the Good News Is…“ by Dana Perino (Twelve)

4. “The Road to Character” by David Brooks (Random House)

5. “The Life-Changing Magic of Tidying up” by Marie Kondo (Ten Speed)

6. “Missoula” by Jon Krakauer (Doubleday)

7. “Dead Wake” by Erik Larson (Crown Publishing)

8. “Dealing with China” by Henry M. Paulson Jr. (Twelve)

9. “Thug Kitchen” by Thug Kitchen (Rodale)

10. “Tox-Sick” by Suzanne Somers (Harmony)

11. “Get What’s Yours” by Laurence Kotlikoff, Philip Moeller and Paul Solman (Simon & Schuster)

12. “The Real Life MBA” by Jack and Suzy Welch (HarperBusiness)

13. “The Residence” by Kate Anderson Brower (Harper)

14. “Being Mortal” by Atul Gawande (Metropolitan)

15. “Between You & Me” by Mary Norris (Norton)


MASS MARKET PAPERBACKS

1. “Field of Prey” by John Sandford (Berkely)

2. “I’ve Got You Under My Skin” by Mary Higgins Clark (S&S/Pocket)

3. “The Longest Ride” (movie tie-in) by Nicholas Sparks (Grand Central Publishing)

4. “Natchez Burning” by Greg Iles (Harper)

5. “Blossom Street Brides” by Debbie Macomber (Ballantine)

6. “Private Down Under” by James Patterson and Michael White (Vision)

7. “Tom Clancy: Support and Defend” by Mark Greany (Berkley)

8. “Breath of Scandal” by Sandra Brown (Grand Central Publishing)

9. “Cut and Thrust” by Stuart Woods (Signet)

10. “The Target” by David Baldacci (Vision)

11. “Tuesday’s Child” by Fern Michaels (Kensington/Zebra)

12. “Ready for Marriage” by Debbie Macomber (Harlequin)

13. “Sweet Salt Air” by Barbara Delinsky (St. Martin’s)

14. “The Beekeeper’s Ball” by Susan Wiggs (Mira)

15. “American Sniper” (movie tie-in) by Chris Kyle (William Morrow)


TRADE PAPERBACKS

1. “A Work in Progress: A Memoir” by Connor Franta (Atria/Keywords Press)

2. “The Goldfinch” by Donna Tartt (Little, Brown)

3. “American Sniper” (movie tie-in) by Chris Kyle (William Morrow)

4. “Burn” by James Patterson and Michael Ledwidge (Grand Central Publishing)

5. “The Boys in the Boat” by Daniel James Brown (Penguin Press)

6. “The Escape” by David Baldacci (Grand Central Publishing)

7. “Ask” by Ryan Levesque (Dunham)

8. “David and Goliath” by Malcolm Gladwell (LB/Back Bay)

9. “Deep South Dish” by Mary Foreman (Quail Ridge)

10. “The Husband’s Secret” by Liane Moriarty (Berkley)

11. “The 5 Love Languages” by Gary Chapman (Moody/Northfield)

12. “Never Too Late” by Robyn Carr (Mira)

13. “10-Day Green Smoothie Cleanse” by JJ Smith (Atria)

14. “Still Alice” (movie tie-in) by Lisa Genova (S&S/Gallery)

15. “The One & Only” by Emily Giffin (Ballantine)

Movie Review: ‘Adult Beginners’

Nick Kroll is headed for leading-man status. He’s too funny to be relegated to the scene-stealing bit parts that have made him recognizable. Plus, he has a cult following thanks to the recently canceled “Kroll Show” on Comedy Central and FX’s “The League.” So it’s good to see him moving toward centerstage in “Adult Beginners,” even if the sweet movie turns out to be forgettable.

Kroll plays Jake, a sarcastic entrepreneur who sank all of his money — and a lot of other people’s — into a Google Glass copycat. When the product’s launch implodes, he decides to flee the big city and his enraged investors and head for his childhood home in the ’burbs, where his pregnant sister, Justine (Rose Byrne), lives with her husband, Danny (Bobby Cannavale), and toddler, Teddy (Caleb and Matthew Paddock). It’s just a short train ride away, but the distance feels huge. One day, Jake is staying in a spacious loft where cocaine is plentiful, and the next he’s on an air mattress, sleeping in the shadow of the caricatured portrait from his bar mitzvah.

It’s hard to feel too bad for Jake, though, because he’s an entitled brat, a big baby with a 5 o’clock shadow who whines that the only reason he showed up at his sister’s door is so she can cheer him up. He wants to stay for three months, and while Justine is clearly reluctant, the attention-starved Danny welcomes a new face at the dinner table. He even offers Jake a job as Teddy’s nanny. Jake thinks this is a bad idea, but what else has he got going on?

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There are predictable rookie moves along the way — Jake can’t figure out how to use the stroller, he forgets to pack snacks for the playground — but, this being a tale of redemption, he gets the hang of it and even excels. Meanwhile, he reconnects with Justine and revels in the time capsule that is his childhood home. He pops batteries into his yellow Sony Walkman and plays old stories on tapes for Teddy. But it’s not all happy nostalgia. He also stumbles onto the medical files of his mother, who died of cancer.

The movie has more than a passing resemblance to last year’s indie “The Skeleton Twins,” which also featured comedians doing serious material. In that case, the siblings were played by SNL alums Bill Hader and Kristen Wiig. “Adult Beginners” turns out to be less memorable, though, because it resists the urge to explore the dark stuff. It glides along the surface where conversations that include the question “Are you really happy?” pass for bonding.

[“The Skeleton Twins”: Kristen Wiig and Bill Hader as suffering siblings]

Justine gave up everything, including a law career, to take care of their mother while Jake stayed in New York. He’s just a selfish guy, appearing and vanishing as his schedule permits, making him a carbon copy of his emotionally unavailable father, whom Jake loathes. Danny, meanwhile, is so desperate for attention, his eye begins to wander.

These emotional themes emerge, but then they’re gone before we can get a closer look. There’s never any question where this is all headed: a huge blowup argument and a tidy resolution.

That being said, the cast is excellent. When a filmmaker needs to add a dose of warmth to a movie, the recipe should be: Just add Cannavale. The actor often plays characters who look and sound rough around the edges but also exude deep emotions. Byrne (Cannavale’s real-life girlfriend) has become one of the go-to actresses for comedies, and she, too, brings more than laughs. When she takes her lunch break to sit in the back seat of her car, watching “The Vow” and weeping into her box of Whoppers, it’s both hilarious and poignant.

And Kroll, with his big blue eyes and smarmy smirk, is the perfect guy to play the lovable jerk. But even he can’t make his warp-speed transformation believable. The difficulties of taking care of a 3-year-old boy unfold as a series of middling punch lines before — voila! — he’s mastered the art of child care. The actor is up to the task of the leading role, but it’s clear he could have taken on a more complex part. Let’s hope he gets the chance.

★ ★ ½

R. Contains language and drug use. 90 minutes.

BOOK REVIEW: ‘Don’t Make the Black Kids Angry’

You’d be dead wrong because Flaherty, a Wilmington, DE talk show host and superb journalist,  has a follow-up book: “Don’t Make the Black Kids Angry: The hoax of black victimization and those who enable it” (Createspace Independent Publishing Platform,  524 pages, exhaustive sourcing of examples, links to videos, quality paperback, $23.78, also available in a $6.99 Kindle ebook from Amazon.com).

The title of Flaherty’s latest book—I’m guessing it won’t be the last from Flaherty on the politically incorrect subject—comes from a quote by former Kansas City MO mayor Emanuel Cleaver. Cleaver is now a congressman. Kansas City—like just about every city in the country—has been plagued by fighting and wilding committed by young black men and more than a few women. Their favorite venue in Kansas City is the upscale Country Club Plaza, which has been called the nation’s first suburban shopping center.

Shopping centers and movie theaters are popular venues for blacks fighting, as are nightclubs, gatherings of black college fraternities, events like a gathering of black motorcyclists in places like Myrtle Beach, SC (I’m not making that up!) and other “urban” events in Indianapolis, Miami Beach and other cities.

I was momentarily surprised to see my alma mater, Northern Illinois University in DeKalb, in the new book, as Flaherty recounts incidents of blacks roaming fraternity row, seeking to get into parties. I shouldn’t be surprised to see NIU involved with black on white—or in the case of one fraternity row incident, black on Hispanic—violence. DeKalb is only about 60 miles west of Chicago, where whites and Asians are frequent victims of black thugs, Flaherty writes.

Here’s what Flaherty has to say about a subject that most mainstream newspapers and TV stations wish they didn’t have to cover. When they do cover the crimes, the race of the perpetrators is almost never used. It shows up in the website comments on stories, but is often removed, Flaherty says.

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Instead of race, news outlets employ euphemisms like “teens” and “youths” or don’t even use any term. Here’s what the author has to say about his eye-opening (unless a thug uses the Knock Out Game to close it!) book:

“Black people are relentless victims of relentless white violence, often at the end of a badge—for No Reason What So Ever.
“That is the biggest lie of our generation. Because just the opposite is true.

“War on black people, anyone?

“Black crime and violence against whites, gays, women, seniors, young people and lots of others is astronomically out of proportion.

“It just won’t quit. Neither will the excuses. Or the denials. Or the black on white hostility. Or those who encourage it.

“That is what ‘Don’t Make the Black Kids Angry’ is about.

“In 2013, more and more people began to figure out that the traditional excuses—jobs, poverty, schooling, whatever—for black crime and mayhem were not really working any more.

“Now they have a new excuse. The ultimate excuse: White racism is everywhere. White racism is permanent. White racism explains everything.

“And right away, you can see the enormous difference between what they said happened.

“And what really happened.

* You will read about a young mother with two children who found a group of black people burglarizing her home. After she called police, large groups of black people taunted, harassed, vandalized, threatened, and finally burned down her house.

All while police shrugged their shoulder and said there was not much they could do. Hard to believe, you’ll get a link to this 911 call, and you can hear it for yourself.

* You’ll learn about the massive black on Asian violence against more than 1000 recent Asian immigrants that city officials blamed on Asian naivette and said that was not unusual because it happens to all immigrants.

* You’ll read about about 40,000 black people destroying a tourist town because some said they “did not feel welcome.“

* We’ll see examples of widespread black mob violence in small towns. And in bigger places where people pride themselves on racial tolerance.

And what about the virulent black mob violence on Memorial Day, the Fourth of July, even Christmas. We’ll see how widespread that is, how it has been happening for a long time.

And all the time will see how local media deny, ignore, condone, encourage, even lie about it.

* We’ll visit college campuses, where students are soft targets. We’ll learn how black student groups hate it when school records show that violent crime and robbery in and around campus is a black thing.

* We document large scale black mob violence at movie theaters and malls. And observe the enormous difference between what they say happened, and what the video show really happened.

* We’ll see how black on white racial hostility in taught in thousands of schools around the country. How children learn that white racism is everywhere. All the time. And explains everything.

* We’ll go into the inner chambers of the Society of Professional Journalists, and how they tell their members how to cover black crime and violence: Don’t.

* We’ll take a look at Black History Month, and how it is remembered with violence and denial.

* And we will meet the victims, one after another.

And more and more and more examples of black mob violence from around the country until denial is no longer an option.

All written without racism. Or rancor. Or apologies.

My work has appeared in more than 1000 news sites around the world, including the New York Times, Los Angeles Times, San Diego Union-Tribune, NPR and many, many more.

My story on how a black man was unjustly convicted of trying to kill his white girl friend resulted in his release from state prison. And was featured on NPR and Court TV.

Don’t Make the Back Kids Angry breaks new ground, with new stories of black mob violence and black on white crime.

When you are finished, you might have some causes and solutions, but you will definitely have no reason to deny the existence of this epidemic of crime and violence.

Endorsements of Flaherty’s previous book

Thomas Sowell: “Reading Colin Flaherty’s book made painfully clear to me that the magnitude of this problem is greater than I had discovered from my own research. He documents both the race riots and the media and political evasions in dozens of cities.“  Sowell is an African-American.

Sean Hannity: White Girl Bleed a Lot “has gone viral.“

Los Angeles Times: “a favorite of conservative voices.“  .

Allen West: “At least author Colin Flaherty is tackling this issue (of racial violence) in his new book, White Girl Bleed a Lot: The Return of Racial Violence to America and How the Media Ignore it.“ West is an African-American.

My advice to anyone sitting down to read this book and Flaherty’s previous one: be prepared to be shocked and disgusted and to be able to withstand excuses by members of the black journalism society, wacky professors and cops in denial. You’ll also find emails to Flaherty from veteran police officers and a link to a police site in Chicago that tells it like it is.

About the Author

Colin Flaherty is an award winning writer whose work has been published in more than 1000 places around the globe, including the New York Times, Los Angeles Times, Boston Globe, Miami Herald, Washington Post, Bloomberg Business Week, Time magazine, and others.

He is the author of the Amazon #1 Best Seller: “White Girl Bleed a Lot: The Return of Racial Violence and How the Media Ignore It.“ And “Don’t Make the Black Kids Angry: The Hoax of Black Victimization and Those Who Enable It.“

As a reporter, he won more than 40 journalism awards, including Best Investigative from the Society of Professional Journalists in San Diego for a story that resulted in the release of an unjustly convicted black man from prison. This case was also featured on Court TV, the Los Angeles Times and other media outlets.

He lives in Wilmington, Delaware, where he (along with his liberal brother ) hosts a talk show on WDEL radio.

Movie Review: ‘Blackbird’

Randy is a Southern choirboy who turns to a portrait of Jesus on his bedroom wall when times get tough. His friends make the distinction between a real sin and a “Randy sin,” because the teen — a virgin who doesn’t curse, drink or stir up trouble — sets such a high bar for appropriate behavior.

There’s just one thing. Randy has been having erotic dreams about one of his male classmates. And, despite his prayers, Jesus isn’t making them go away. That’s the tricky dilemma at the center of “Blackbird,” an adaptation of Larry Duplechan’s novel: Randy’s religion is at odds with his nature.

But that essential and important struggle is hardly the movie’s only conundrum — and that’s the melodrama’s biggest flaw. Anything that can go wrong, will — often in spectacular fashion. For starters, Randy (newcomer Julian Walker) is dealing with the separation of his parents, a split that arose from yet another dramatic episode. Six years earlier, Randy’s younger sister disappeared, and his mother hasn’t been the same since. She spends her afternoons handing out fliers and taping “missing” signs to the milk cartons at the grocery store.

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Randy’s friends are also dealing with a lot. One contracts a sexually transmitted disease, another contends with an unplanned pregnancy. Two characters are also grappling with their sexual identities.

Regardless, the heart of the movie is in the right place. And although some of the acting from the younger stars comes across as amateurish, a few performances truly shine, especially those of Oscar winner Mo’Nique and Isaiah Washington, who play Randy’s mother and father. Mo’Nique, who has gotten press recently for claiming she has been blackballed by Hollywood, also produced the movie with her husband, Sidney Hicks. She proves her talent here, turning in a powerful performance as a heartbroken woman who has lost one child and emotionally abandoned the other.

But Washington is even stronger in his more understated role. He comes across as a macho guy, driving around in a pickup truck and perpetually chewing on a toothpick. But in one sweet moment, he vows to love his son no matter what. Randy’s father, not to mention all of Randy’s friends, know the boy is gay.

It’s such a quiet, simple moment in a movie full of more overwrought ones — including a spiritual “deliverance” — but it makes a lasting impression. “Blackbird” would have benefited from using that approach more, rather than saddling a compelling drama with so much extra baggage.

★ ★

R. Contains strong language, sexual situations, frank discussions about sex and drug use, all involving teens. 99 minutes.

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