Monday, February 6, 2023

In Print!

Friends, it's official: Indie Theater Guy is now published as a Kindle ebook and as a paperback.

The book only took a few months to write and edit and publish. But it took 61 years before that to live it. It's very satisfying to have these stories from my life in virtual and actual print. I hope folks enjoy them.

The back cover of Indie Theater Guy

Seven very thoughtful reviews of the book have already been posted on goodreads and Amazon. They are all written by theater colleagues and friends--let's be honest: who else is likely to read Indie Theater Guy? As one of these kind reviewers, Joshua James, writes: "Full disclosure. I know Martin and Rochelle. But that's the thing, you cannot have been involved in theatre at any point over the last 25 to 30 years in New York City and NOT know them."

I'm just grateful to all seven of these folks, and all of the others who have posted ratings and purchased the book and provided enthusiastic support for the project on social media. None of the adventures that I wrote about in Indie Theater Guy would have happened were it not for the amazing community of indie theater artists who were the subjects of and contributors to, the Plays and Playwrights books, nytheatrecast, and Indie Theater Now. The book is about all of them, all of you. 

Obligatory plug: You can get your copy of Indie Theater Guy from Amazon (as a Kindle ebook for $4.99 or a paperback for $8.99).

So, the book is done. I really enjoyed writing it, so I may well attempt another at some point. In the meantime, my indie theater juices are flowing and I am excited to get started on my next project. I'll have much more to say about it in coming days and weeks, but for now I will just tell you that it's going to be a podcast series in which I will be reminiscing with indie theater artists about the remarkable work you guys created during the era. I hope you will want to be part of this series: please email me and let me know.

Saturday, February 4, 2023

Foreword March

I have just had the thought that I failed to include a Foreword in my memoir Indie Theater Guy. It's too late now, unless we decide to publish a second edition (doubtful). But if there's a sequel or follow-up, you can be certain that I'll be bugging somebody or other to do the honors--because a nice Foreword, written by a colleague who "gets" you, is a lovely way to begin a book.

I should know, because as editor of the Plays and Playwrights anthologies, I was blessed with eleven excellent forewords composed by an impressively smart array of playwrights and theater writers. 

Robert Simonson was the first person I ever asked to create a Foreword, for Plays and Playwrights 2001. (We incorrectly tagged it a "Preface." Oops.) Robert was then an editor at Playbill Online; his play Cafe Society was in our first anthology the year before. Robert's contribution concluded: "He [Martin] is putting new comedies and dramas out where directors, producers, artistic directors, and theatergoers can find them. More than that, he is reinventing the long moribund world of play publishing with vision and enthusiasm." A very nice way to characterize our then-nascent publishing program!

For Plays and Playwrights 2002, our Foreword was by the late Bill C. Davis, author, most famously, of Mass Appeal. I met Bill after my review of his play Avow was published and he became one of's earliest and most enthusiastic boosters. He captured the ethos of what we came to call indie theater beautifully: "The off-off-Broadway theater is the arena where writers can dare fearlessly. Playwrights, along with actors and directors, do not have to apologize for their originality. They struggle with the question, 'What do I want to say?' as opposed to  'What do you want me to say?'"

Mario Fratti, author of the original book of the musical Nine and nearly a hundred other plays as well as a longtime theater critic, was another early great friend and champion of NYTE's work. He graciously penned the Foreword to Plays and Playwrights 2003, in which he talked about the experience common to all critics and reviewers: "At the end of the play we sometimes smile at each other because we are pleased by what we saw; sometimes we do not look at each other. We hate to read disappointment in the eyes of our friends." 

For Plays and Playwrights 2004, I asked another of the authors published in our first anthology to provide the Foreword: Kirk Wood Bromley. He wrote unabashedly about what being part of Plays and Playwrights for the New Millennium had meant to him: "I was ecstatic. To be anthologized has always been a milestone--no, a light-year stone--for writers. It's like being invited to an Important Artists party. It's like coming home one day and all your clothes are new and fashionable. It's like getting an improved hormonal regimen. I felt GREAT!!!"

Stan Richardson, who was one of the most talented and prolific members of's reviewing squad back in the day, introduced me to his friend Steven Drukman, a professor of theater at New York University. Steven consented to provide the Foreword for Plays and Playwrights 2005: "This book is a noble act. Collections like these tell playwrights that they still matter. Now all you have do, dear reader, is appreciate these damned good, important new plays. And then, maybe, pass 'em on."

Trav S.D. collaborated with NYTE on so many projects, especially our long-running podcast series nytheatrecast. His play House of Trash was also featured in our second anthology. So he was a natural choice to pen a Foreword for Plays and Playwrights 2006. In it, he characterized NYTE's mission as follows: "Like the LAPD, Martin's mission is 'To Protect and Serve,' with an emphasis in this case on the latter. Martin's only agenda appears to be supporting New York theater--not selling ads, and not even the gratification of his own vanity. How perverse!" (I admit that my vanity may have been gratified just a little bit.)

The following year, playwright-director John Clancy, founding artistic director of FringeNYC and, later, founding executive director of the League of Independent Theater, provided a Foreword for Plays and Playwrights 2007. He summed up our beginnings with characteristic brevity: "[Martin] put together a website and presto-chango 'Martin's Guide to New York Theater' appears on the web. A few years later, Martin's Guide becomes Martin quits Marriott and with his mom Rochelle moves up to New York and we all end up standing around an auto-repair-shop-turned-performance space [The Present Company Theatorium] talking about some crazy-ass play we just saw."

The Foreword for Plays and Playwrights 2008 was written by Mark Blankenship. Mark's career has veered lately more into the realms of TV and music, but back then he was a young theater writer, just starting out in NYC. He took the long view: "Personally, I like to think about the people who will find this collection in five years, or ten, or twenty. Maybe they'll read it and be shocked, discovering a script that inspires them. Maybe they'll pick it up because one or more of its plays has become famous. Maybe they'll buy it because it's on a syllabus." From your pen to God's ears, Mark!

Plays and Playwrights 2009 was the tenth edition of the series. To mark that anniversary, I asked Garth Wingfield--whose play Are We There Yet? had been the inspiration for our publishing project back in 1999--to write the Foreword. Garth told the story of how Plays and Playwrights came to be (a story I have told many times myself, most recently in Indie Theater Guy): "Our short run was winding down, and I remember thinking, all this work by these talented actors and designers and a very gifted director, and it's going to close and it will be like it never happened at all. And then, snap, snap, snap, right into place: Martin loved it. He raved. And most importantly, he got inspired."

I have known playwright Leslie Bramm since the very beginnings of NYTE, back when he and I were fellow adjudicators for the New York International Fringe Festival. His play Marvelous Shrine is in the 2008 anthology; and he happily contributed the Foreword to Plays and Playwrights 2010: "Aristotle says theater is the celebration of the idea. Nowhere does the idea reign more sublime than in the indie theater movement. From the indie theater movement comes the work that's bold enough to reflect our present culture back to itself. From the indie theater movement comes work that speaks of peace and demands a sense of justice."

The last volume of the Plays and Playwrights series came the next year, in 2011. Kelly McAllister, one of only two playwrights represented twice in these anthologies (Last Call, 2003; Burning the Old Man, 2006) penned the final Foreword. He wrote: "You have in your hand something rare and wonderful--an intensely magic book of theatrical spells; a collection of recipes for meals of the mind; an unfinished poem on the possibilities of art."

Playwrights say stuff better than I can ever hope to; that's why I love hanging around them, and have been honored to receive their writing in the books I edited and published.

So, if and when "Indie Theater Guy Comes Back" or some other such titled opus makes an appearance, you can be certain that I will find somebody to write me a proper Foreword for it.

Wednesday, February 1, 2023

First Day Published

So I woke up at four o'clock this morning, lay in bed for a while, fretting.

"What if nobody likes the book?"

"What if I told too much about myself?"

"What if I told too little about myself?"

"What if the Kindle book looks crummy?"

And on and on. So I got up, headed to the computer. The last worry, at least, was easy to check on. I logged onto Amazon, where I discovered that 21 copies of Indie Theater Guy on Kindle had already been sold. (Thanks, you 21 steadfast and wonderful people. You know who you are.) I checked out the "Look Inside" feature on the Amazon page; worked fine. Then I bought my own copy. And tried to go back to sleep.

And didn't.

So I opened my Kindle and started reading.

It looks great.


Did finally sleep some; got up around seven, had breakfast, then headed back to the computer. And found some lovely posts on Facebook from folks telling me they'd gotten their Kindle copies this morning. And then there was this, from Qui Nguyen:

Got it, downloaded it, read it last night. Man, what a great read. It brought back many memories of my favorite time of doing theatre in New York (which still feels like yesterday even though I know it's not). I also enjoyed finding out a little about you and Rochelle outside of just the NYTheatre stuff and where you are now in life in Cocoon and especially your short epilogue (purposely being vague so not to spoil anything). I smiled from ear to ear, Martin. I loved it. And it also prompted me to go look up those 2 episodes of Indie Theater Now (I agree, Trav SD is an incredible host). Congratulations on your first book, man! I can't wait for the next one!

Day officially made. Thanks, Qui.


If you are reading Indie Theater Guy on your Kindle, please take a moment and check out the Dedication and the Epigraph. Kindle defaults you to the Prologue, but those two earlier sections in what Kindle calls "Front Matter" mean a lot to me, and I really want everyone to see them. The Epigraph is by Bob Laine, and I thank him from the bottom of my heart for allowing me to use it here.


Wednesday, January 25, 2023

Titling the Memoir

Finding a title is hard.

I wrote thousands of reviews back in the day, and I never faced this problem: on nytheatre[dot]com the title of the show was all that was needed for a headline. But what I am working on now is a book--my memoir; stories from my life--and it needs a proper name.

I started with "Living the List." The idea was that my book was going to be like a bucket list, a parade of anecdotes and incidents that collectively comprised a "bucket list" that I might have constructed for myself if I'd had any inkling of how my life was going to turn out. There was even going to be a self-help-ish moral: don't MAKE a bucket list, just LIVE it. Hence, "Living the List."

This turned out to be a great way for me to jump-start a project that I had wanted to do for years but had not found a way into. But it was not quite what the book ultimately wanted to be about. 

I wasn't writing a self-help book. I was writing about my own journey in life.

So, without using my name, how to find a few pithy words that mean me?

My first impulse was to use the description of myself that I always loved best. It was coined by playwright Kirk Wood Bromley, who, in an interview, said that I was "an engine of enthusiasm for the art." That has always seemed to me to be exactly right in depicting my role in the indie theater community. So, "Engine of Enthusiasm": that was definitely it.

Except that alone, on a cover, without context or explanation, it didn't seem to make sense. Back to the drawing board.

Another idea soon struck my fancy. In junior high school and in high school I had been voted "Most Likely to Succeed" by my classsmates. I thought it would be cool to contrast the likely conception that they had about what that success would look like with what my success ultimately was: that instead of becoming the wealthy and powerful corporate magnate that I seemed destined to be, I became the champion of alternative downtown theater. Subverting norms, that sort of thing; a little irony. I liked it.

But a quick scan on Amazon showed me that only about twenty dozen other authors liked that title too. Nobody would ever find my "Most Likely to Succeed" among the myriad memoirs, biographies, and business books bearing the same moniker.

Ok, what I really need is something specific to ME. Something that is unmistakably Martin.

In my book I recall a pivotal moment in my theater career, when I hosted the opening event for the New York International Fringe Festival for the very first time. I raced to the stage and screamed to the audience "ARE YOU READY TO FRINGE?!?"

Maybe that's the title: "Are You Ready to Fringe?" Or, better: "Ready to Fringe." 

But if you aren't a theater festival person, won't you think a book with that title might be about someone in a radical political movement? Or, maybe, about crocheting?

Still not there.

Sometimes, the answer to your question is literally in front of your face. When I made my Instagram account a few months ago, I needed a very short pithy description of myself, my "tagline," so to speak. I wrote, without thinking much about it: Indie Theater Guy.

I don't know why it took me so long, but finally I remembered it. And once I did, it was like: OF COURSE that's the title. Because, come on, Indie Theater Guy is like my BRAND.

And so, here we are. Indie Theater Guy by Martin Denton. 

(My friend Kelly McAllister actually texted me as soon as he saw it to tell me how perfect he thought it was.)

The hardest part of making this book is now complete! We're about a month away from publication.

Check out the Indie Theater Guy website for updates and info.

Wednesday, January 18, 2023


 On my goodreads author profile there's a place to indicate "influences." I thought hard about who I should list there, and I decided I'd share some of those thoughts today.

Of the seventeen books I am credited with creating, sixteen are anthologies of plays that I edited as part of NYTE's publication program. For those books, the main influence on my work is clear: John Gassner. His play collections were the first ones I ever read--checked out regularly from our public library when my sister Nita and I were children. I'm afraid he's mostly forgotten now (here's the piece about him on Wikipedia) but his impact on the work I ultimately did in this field is incalculable, in terms of both inspiration and the ineffable elegance of his books. 

My seventeenth book--which will be published in a couple of months--is a memoir. Now I've read a lot of memoirs in my time, especially by people involved in show biz and the arts. Many of these served as negative examples to me. For example, I love Hermione Gingold's How to Grow Old Disgracefully but the book, while quite funny, doesn't always feel completely candid or forthright (as opposed to true, which it may well be). Stephen Sondheim's two volumes Finishing the Hat and Look, I Made a Hat are invaluable accounts of his professional career and absolutely worth reading, but so much of the man is missing from them. (And yes, George sings, in Sunday in the Park, "I am what I do"; but we all know there's more to a human being than that.) Julie Andrews's first memoir Home is a book I never finished: she reviews her childhood in more extreme detail than I really needed to know. Similarly Joel Grey's Master of Ceremonies is so squarely focused on his sexuality and sex life that the parts of his life that I was most curious about (i.e., his career in theater) were given relatively short shrift.

So, I had lots of ideas about what NOT to do. As for what I did: Well, I have been writing for public consumption for decades. Thousands of reviews, plus lots of incidental articles, profiles, interviews, think pieces, blog posts, what-have-you. I have developed a style over all this time, and it's one that's very natural to me. (Who influenced my reviewing style? Frank Rich, Ethan Mordden, David Richards, Harold Clurman; all the likely suspects, I suppose.) Those who I asked to read the early manuscripts of Indie Theater Guy all agreed on at least one thing--that the book sounds like me. That is exactly what I was hoping for.

Stylistically, I can point to one recent memoirist whom I think I have at least subconsciously been guided by, and that's Andrew Tobias. I recently read two of his books, My Vast Fortune and The Best Little Boy in the World Grows Up, and both are characterized by a lightly humorous, breezy, informal, somewhat self-deprecating style that I enjoy very much and that I think may have affected how I approached the task of writing my own book.

Finally, structurally, Indie Theater Guy owes a gigantic debt to Patrick Dennis's Auntie Mame. Even Nita, who introduced Auntie Mame to me, reading it to me (with great expressiveness and style!) when I was perhaps five or six years old, didn't notice that the structure of my memoir is appropriated from Dennis's framing device. His book is a series of recollections of larger-than-life extravagant adventures (those of his aunt, whose life he compares to that of a Readers Digest heroine billed as the "most unforgettable character"). It will be hard to say this humbly, but: so is mine. 

Check out the official Indie Theater Guy website for more info about the book and related projects.

Wednesday, January 11, 2023

How I Came To Write a Memoir

So I've written a book. It's a memoir: not the story of my life, but stories from my life. The fun ones, about indie theater. It's called Indie Theater Guy.

Ever since we shut down nytheatre[dot]com and The New York Theatre Experience, Inc. and Indie Theater Now I've pondered what I might do to hold on to the two decades of my life that they encompassed. There are a couple of tangible markers: the sixteen play anthologies that live on in libraries and on book shelves; and the League of Independent Theater. But what about the rest of it?

It seemed to me, for a long while, that the way to process my experiences was to collect all of my reviews into a book. But eventually I realized that while those thousands of reviews comprise a lovely kind of history of New York theater, they don't tell my story at all. 

And I came to understand that it was my story that I needed to tell next.

A chance occurrence gave me the inspiration for how the book could be structured. It took me about three weeks to write the first draft, and those three weeks flew: I was more productive and satisfied doing this work than I have been since the heady days when we launched our website, our podcasts, our play anthologies. When I came out the other side, with a book that I thought might be worth reading, I felt validated, energized.

I recently learned about Erikson's stages of psychosocial development. The basic idea is that as people grow and age they progress through eight distinct phases. In the final stage, which happens around the age of 65 (I'm 61), you reflect on what you've done in your life and ask the existential question "Is it okay to have been me?"

It turned out that in writing this book I was asking that existential question. And I was well pleased with the answer.

The memoir is an account of the journey I took, from being a theater-loving kid (and then man) who decided to make a website about New York theater as a way to learn how the Internet worked, to becoming, well, Indie Theater Guy. It's a collection of adventures with a community of artists who enthralled and inspired me. It's reminded me how much all that happened in those two decades meant to me. And it's made me eager to come back for Act Two.

Indie Theater Guy is going to be available first on Kindle, for release on March 8, 2023. It's available for pre-order now.

Saturday, December 31, 2022

2022: A Year of Books


This year, for some reason, I really got into reading. I read more than 100 books this year, twice as many as I have typically read in other years. The complete list, in the order I read them, is at the bottom of this post.

I think my biggest discovery this year in the realm of books was the goodreads website. I've been mildly aware of goodreads for a long while, I guess, but for some reason this past fall I decided to check it out more carefully and I ended up establishing a presence there. What I am liking about goodreads is that is provides me with a really helpful way to keep track of what I've read and what I'd like to read--I am a great one for getting excited about new topics, authors, and interests, and they come and go and flux and change, and so rather than just putting titles on my Kindle as they appeal to me (which is what I was doing), I am now able to organize my disparate fancies in goodreads lists, and I can read the opinions of others to try to gauge whether I really want such-and-such a book and remove and adjust the lists as needed. Overthinking, perhaps, but enjoyable to me.

The second thing I like about goodreads is that I am able to find and link up with people whose reading tastes seem to match my own. From these people I have been able to discover a lot of excellent work that I probably wouldn't have found or paid much attention to otherwise. For example, thanks to one goodreads "friend" I have gotten a taste of Young Adult fiction, a genre that never seemed interesting to me but which I now find pretty appealing. So I am grateful for all the new directions my reading is going, thanks to the advice and recommendations of folks I am meeting virtually on goodreads.

I have also been reviewing everything I read now, which is a nice way to put to practice the skills I learned reviewing theater for all those years; and also a nice way of setting down the reading experiences in a kind of permanent way, something I never did until this year (except for plays, of course). The process of thinking about and writing about what you've read is useful and edifying, and I am glad that I am doing it. Links to my goodreads reviews are at the bottom of this post.

Best Books of the Year

So which books mattered the most to me in 2022? At the top of the list has to be Siddhartha by Hermann Hesse, which is a book I tried to read when I was much younger and abandoned; and then came to it at precisely the moment I was ready for it and needed it, this past October. It is such a rich, profound work full of wisdom and love; it filled my heart in a way that few books ever have. I will cite two sentences that really resonated with me:

And yet it also pleases me and seems right that what is of value and wisdom to one man seems nonsense to another.

He saw: this water ran and ran, incessantly it ran, and was nevertheless always there, was always at all times the same and yet new in every moment!

The other book that really stayed with me was Michael Cunningham's Flesh and Blood. I came to it because, as I was going through my old theater reviews to prepare some of them for goodreads, I discovered that I had seen a dramatic version of this book at New York Theatre Workshop, about twenty years ago. Yet, I had no memory of it whatsoever. I thought it might be interesting to read the source material. And I am so glad I did: Cunningham tells the story of a family so vividly and intimately and with such immediacy that I found I could not turn away and I could not stop getting more and more wrapped up in their lives. It's a beautiful book about love and the eponymous stuff--flesh and blood--that goes with it.

Flesh and Blood has drawn me into fiction in general--I rarely used to read fiction except for mystery/suspense/detective genre novels and stories--and into romantic/love stories in particular. These I always avoided, I guess because I thought they were sappy; I realize now it was probably because I thought they'd remind of what I didn't have in my life. Either way, I am glad to be embracing all of these kinds of reading and look forward to more in 2023.

Discoveries of the Year

I read more widely this year than ever, and along the way I came upon a few new (to me) authors that I have really enjoyed:

  1. Howard Fast: I have no idea how I didn't know about Howard Fast until this year! I already wrote something about him in this blog post. Since that post in September I have finished the Masuo Matsuto mysteries and read a big book of Fast short stories. He is a wonderful writer, and a deeply humanist one (although the whiffs of homophobia I detected in a few of his pieces troubled me just a bit). I'm not sure how much more of his work I will read in the future, but I am glad to have spent a lot of this year with him.
  2. Christopher Rice: On a whim, I bought Light Before Day, an early work by this writer (who is the son of Anne Rice of Interview with the Vampire fame). This is from the review I posted: "It's a vivid, intense account of a young journalist who finds himself in the middle of (quoting from the goodreads summary) 'a deadly conspiracy involving runaway sugar daddies, salacious A-list parties, and three handsome young men who have vanished without a trace'. Now, I would not normally ever read a book with a description like that, let alone love such a book, but Christopher Rice takes this material and makes it transformative." He's a fine, humane writer, and the second book of his I read this year, Sapphire Sunset (writing as C. Travis Rice) was, for sheer enjoyment value, my favorite book of 2022. It's a purely romantic tale of two young men who come to realize they belong together; there's a neat suspenseful plot in the background, but the focus is on the growth of a deep and loving relationship. I am looking forward to Rice's sequels (there are two of them, so far) next year. 
  3. Richard Stevenson: I rediscovered the Donald Strachey mysteries this year. I know I read one of them when it was new (or newish), thirty or more years ago; this time I started with the first one, Death Trick, and I'm really enjoying them. (I'm nearly halfway through the third one now.) These date from the 1980s and are set in Albany, New York, featuring a gay private detective, which was definitely a rarity back then.

Books by Friends and Colleagues

I am lucky to have so many people within my circle who are also marvelous writers. This year, I was deeply moved and inspired by a pair of books about the Covid years, Julia Lee Barclay-Morton's The Mortality Shot and Micah Bucey's The Book of Tiny Prayer. They are very different from each other but share two important aspects: both, while serious and somber, are filled with love and hope; and they are as conventional as their authors, which is to say that they are not conventional at all. I am grateful to count both of these talented artists as friends, and was enlarged in 2022 by their work.

Here are other books by folks I know or have known that I got to read this past year:

  • Iphigenia in Aulis by Edward Einhorn: a wonderful new version of the Greek tragedy, as a drama and a graphic novel
  • Life on the List by Jeffrey Essmann, a very funny sexy book by the (former) performance artist (he is now, I believe, a priest)
  • Song of Spider-Man by Glen Berger: an intense, funny account of the birth of the musical Spider-Man, written by the playwright who was that show's co-librettist
  • The Lost Conversation: Interviews with an Enduring Avant-Garde by Sara Farrington: interviews with more than two dozen indie theater artists like Richard Foreman, Mac Wellman, and Ching Valdes-Aran; wonderful to hear their voices and know they're being preserved here
  • All We Buried by Elena Hartwell Taylor: a gripping, highly engaging mystery novel by a playwright whose humane and readable work (dramatic and non) I always enjoy

Some Random Notes

I finished Harry Kemelman's Rabbi Small novels early in the year; I am so happy to have come to this series! They are warm, gentle mysteries (I guess we'd call them cozies nowadays) and I learned much about Judaism and humanity in reading them.

I started re-reading Ellery Queen's works this year; I have largely abandoned the project. I found that I prefer the earliest ones, where Ellery is insufferable but indisputably the main attraction of the books. Starting with Halfway House, I found the stories to feel more and more like second-rate Agatha Christie, with perky heroines and sappy love stories that she can write but he cannot.

I also tried three of the Philo Vance novels and concluded that two were plenty. Vance is as insufferable as his critics suggest. I re-read a Nero Wolfe novel that I discovered lurking on my shelf, The Second Confession, and I found that it pretty much soured me on that series. I'm quite proud of the review of this that I wrote on goodreads if you care to learn more.

I read Andrew Tobias's memoir about financial life, My Vast Fortune, and got quite a bit out of it. I emailed Mr. Tobias to let him know how much I liked this book and his earlier memoir The Best Little Boy in the World and to my surprise I got not one but two emails back from him (signed Andy). It's nice to know how approachable he turned out to be! And I am looking forward to reading his subsequent memoirs (a new one is said to be coming out next year).

I read several other memoirs and bios; the only one that really stood out was Jim Grimsley's How I Shed My Skin, which is an honest and thoughtful account about growing up inherently racist in the South in the 1960s-70s. It's a smart and courageous book.

And I read Sinclair Lewis's Babbitt, and it really surprised me. It is an excellent novel! Very modern feeling, with lots of good lessons for living packed in that don't ever feel didactic or dogmatic.

All the Books I Read in 2022

(links are to reviews on goodreads)

  1. The Day the Rabbi Resigned by Harry Kemelman
  2. New York: A Bicentennial History by Bruce Bliven,Jr.
  3. Virginia: A History by Louis D. Rubin, Jr.
  4. That Day the Rabbi Left Town by Harry Kemelman
  5. West Virginia: A History by John Alexander Williams
  6. Vermont: A History by Charles T. Morrisey
  7. Massachusetts: A Bicentennial History by Richard D. Brown
  8. The Adventures of Ellery Queen by Ellery Queen
  9. Delaware: A Bicentennial History by Carol Hoffecker
  10. Knot My Sister's Keeper by Mary Marks
  11. Rhode Island: A History by William Gerald McLoughlin
  12. Jack & Susan in 1913 by Michael McDowell
  13. North Carolina: A History by William S. Powell
  14. Tennessee: A Bicentennial History by Wilma Dykeman
  15. The Tragedy of X by Ellery Queen
  16. Georgia: A History by Harold H. Martin
  17. Totally Pawstruck by Sofie Ryan
  18. Dummy Days by Kelly Asbury
  19. The Siamese Twin Mystery by Ellery Queen
  20. Stamp Collecting by Charles F. Adams
  21. Master of Ceremonies by Joel Grey
  22. Castle Skull by John Dickson Carr
  23. The Chinese Orange Mystery by Ellery Queen
  24. Death of a Hollow Man by Caroline Graham
  25. The Spanish Cape Mystery by Ellery Queen
  26. Murder on Wall Street by Victoria Thompson
  27. All About Me by Mel Brooks
  28. The Tragedy of Y by Ellery Queen
  29. The One Penny Orange Mystery by Morris Ackerman
  30. Halfway House by Ellery Queen
  31. Fun and Profit in Stamp Collecting by Herman Herst Jr.
  32. The Gracie Allen Murder Case by S.S. Van Dine
  33. Lost Countries by Stuart Laycock & Chris West
  34. Rest You Merry by Charlotte MacLeod
  35. A History of Britain in Thirty-six Postage Stamps by Chris West
  36. The Door Between by Ellery Queen
  37. The Man Who Died Laughing by David Handler
  38. The Floating Lady Murder by Daniel Stashower
  39. The Tragedy of Z by Ellery Queen
  40. The Case of the One-Penny Orange by Howard Fast
  41. The Official Stamp Collector's Bible by Stephen Datz
  42. Patrick Henry and the Frigate's Keel; and Other Stories of a Young Nation by Howard Fast
  43. The Case of the Angry Actress by Howard Fast
  44. The Official Dick Van Dyke Show Book by Vince Waldron
  45. The New Adventures of Ellery Queen by Ellery Queen
  46. The Affair of the Christmas Card Killer by Jack Murray
  47. Full Service by Scotty Bowers
  48. The Case of the Russian Diplomat by Howard Fast
  49. The Scarab Murder Case by S.S. Van Dine
  50. Generally Speaking by Lawrence Block
  51. Death Trick by Richard Stevenson
  52. The American by Howard Fast
  53. Drury Lane's Last Case by Barnaby Ross (Ellery Queen)
  54. The Case of the Poisoned Eclairs by Howard Fast
  55. Broadway Babylon by Boze Hadleigh
  56. Light Before Day by Christopher Rice
  57. Jokebook About American History by Ray Ginger
  58. Bodies in the Library 5 edited by Tony Medawar
  59. The Four of Hearts by Ellery Queen
  60. How I Shed My Skin by Jim Grimsley
  61. The Case of the Sliding Pool by Howard Fast
  62. Citizen Tom Paine by Howard Fast
  63. Two Tall Tails by Sofie Kelly
  64. The Mortality Shot by Julia Lee Barclay-Morton
  65. New Leaf by Andrew Grey
  66. Wherever You Go, There You Are by Jon Kabat-Zinn
  67. Tao of Thoreau by Mark J Bozeman
  68. The Essential Enneagram by David Daniels
  69. Productivity for the Depressive Polymath by Brennen Reece
  70. Elephants in the Distance by Daniel Stashower
  71. Siddhartha by Hermann Hesse
  72. On the Other Hand, Death by Richard Stevenson
  73. You Can't Be Neutral on a Moving Train by Howard Zinn
  74. The Art of Zen Meditation by Howard Fast
  75. The Second Confession by Rex Stout
  76. Babbitt by Sinclair Lewis
  77. The Goat Parva Murders by Julian Worker
  78. Time and the Riddle by Howard Fast
  79. Sapphire Sunset by C. Travis Rice
  80. Dazzler: The Life and Times of Moss Hart by Steven Bach
  81. God Said, Ha! by Julia Sweeney
  82. Facebook for Dummies by Carolyn Abram
  83. The Case of the Extra Grave by Christopher Bush
  84. Iphigenia in Aulis by Edward Einhorn
  85. Government Gay by Fred W. Hunter
  86. Center Square: The Paul Lynde Story by Steve Wilson & Joe Florenski
  87. The Zen Book by Daniel Levin
  88. Sleight of Paw by Sofie Kelly
  89. Django 4 for the Impatient by Greg Lim
  90. Flesh and Blood by Michael Cunningham
  91. The Kennel Murder Case by S.S. Van Dine
  92. Comfort and Joy by Jim Grimsley
  93. Helping Gay Men Find Love by Israel Martinez
  94. The Case of the Kidnapped Angel by Howard Fast
  95. My Vast Fortune by Andrew Tobias
  96. Out of the Pocket by Bill Konigsberg
  97. Life on the List by Jeffrey Essmann
  98. Song of Spider-Man by Glen Berger
  99. The Lost Conversation: Interviews with an Enduring Avant-Garde by Sara Farrington
  100. Birthday Boys by Simon Strange
  101. The Houdini Specter by Daniel Stashower
  102. The Unexpected Heiress by Frank W. Butterfield
  103. Bourbon Street Blues by Greg Herren
  104. All We Buried by Elena Hartwell Taylor
  105. The Case of the Murdered Mackenzie by Howard Fast
  106. The Book of Tiny Prayer: Daily Meditations from the Plague Year by Micah Bucey
  107. Making the Naughty List by Darryl Banner
  108. The Boys by Katie Hafner
  109. Two Christmases by B.J. Smyth
  110. After the Ecstasy the Laundry by Jack Kornfield
  111. Men Are Pigs But We Love Pork by Woody Miller (aka Michael Alvear)
  112. Flamer by Mike Curato
  113. Is It Hot in Here (Or Am I Suffering for All Eternity for the Sins I Committed on Earth by Zach Zimmerman