Ever since her father broke her heart when she was nine, Julia Heimdahl has tried to be good company for bad men: a jovial drinking companion, an easygoing, witty non-complainer, one of the boys. Now a literary novelist in late middle age and late mid-career, she is at a moment of crisis, although she doesn’t know it yet. GOOD COMPANY takes place over the course of a weekend-long book festival at Baldwin College, which happens to be Julia’s alma mater, where she has come to promote her recently published memoir. She’s been placed on a panel with a fellow memoirist named Ellis Blackwell, a man so outrageously flirtatious and fawningly flattering that Julia is almost too disarmed to recognize how dangerous he is. 

Ever since her father broke her heart when she was nine, Julia Heimdahl has tried to be good company for bad men: a jovial drinking companion, an easygoing, witty non-complainer, one of the boys. Now a literary novelist in late middle age and late mid-career, she is at a moment of crisis, although she doesn’t know it yet. GOOD COMPANY takes place over the course of a weekend-long book festival at Baldwin College, which happens to be Julia’s alma mater, where she has come to promote her recently published memoir. She’s been placed on a panel with a fellow memoirist named Ellis Blackwell, a man so outrageously flirtatious and fawningly flattering that Julia is almost too disarmed to recognize how dangerous he is. 

From the brilliant Kate Christensen, winner of the PEN/Faulkner award for THE GREAT MAN, comes a compelling, searing, funny novel about women, sex, power and self-reckoning.

Ever since her father broke her heart when she was nine, Julia Heimdahl has tried to be good company for bad men: a jovial drinking companion, an easygoing, witty non-complainer, one of the boys. Now a literary novelist in late middle age and late mid-career, she is at a moment of crisis, although she doesn’t know it yet.

The novel takes place over the course of a weekend-long book festival at Baldwin College, which happens to be Julia’s alma mater, where she has come to promote her recently published memoir. She’s been placed on a panel with a fellow memoirist named Ellis Blackwell, a man so outrageously flirtatious and fawningly flattering that Julia is almost too disarmed to recognize how dangerous he is. 

Interweaving excerpts from Julia's memoir with her encounters with important people from her past --- the woman she was in love with in college, her old New York mentor, her male editor, her literary nemesis, a former graduate student --- GOOD COMPANY examines what it really means to be “good company" as Julia faces her demons and comes to terms with what she really wants from sex, life and work.

Audiobook available, read by Teri Schnaubelt 

Buzz Busby’s move to Washington, DC, in 1951 helped launch bluegrass in the nation’s capital while the intensity of his mandolin playing drew raves for its unrelenting pace and innovative style. Kip Lornell and Tom Mindte draw on interviews and some 50 hours of Busby speaking about his life to tell the story of a largely forgotten bluegrass virtuoso. Busby and his band, the Bayou Boys, stood front and center on a mid-1950s DC-area TV show that, though short-lived, catalyzed the formation of the city’s bluegrass community. Time with the Louisiana Hayride and classic, if little-heard, bluegrass sides like “Lonesome Wind” seemed to promise a bright future. But a devastating car wreck and a host of legal and personal troubles triggered a long decline into drug and alcohol abuse that undermined Busby’s career.

Buzz Busby’s move to Washington, DC, in 1951 helped launch bluegrass in the nation’s capital while the intensity of his mandolin playing drew raves for its unrelenting pace and innovative style. Kip Lornell and Tom Mindte draw on interviews and some 50 hours of Busby speaking about his life to tell the story of a largely forgotten bluegrass virtuoso. Busby and his band, the Bayou Boys, stood front and center on a mid-1950s DC-area TV show that, though short-lived, catalyzed the formation of the city’s bluegrass community. Time with the Louisiana Hayride and classic, if little-heard, bluegrass sides like “Lonesome Wind” seemed to promise a bright future. But a devastating car wreck and a host of legal and personal troubles triggered a long decline into drug and alcohol abuse that undermined Busby’s career.

Buzz Busby’s move to Washington, DC, in 1951 helped launch bluegrass in the nation’s capital while the intensity of his mandolin playing drew raves for its unrelenting pace and innovative style. His high lonesome singing rivaled that of Bill Monroe. Kip Lornell and Tom Mindte draw on interviews and some 50 hours of Busby speaking about his life to tell the story of a largely forgotten bluegrass virtuoso.

Busby and his band, the Bayou Boys, stood front and center on a mid-1950s DC-area TV show that, though short-lived, catalyzed the formation of the city’s bluegrass community. Time with the Louisiana Hayride and classic, if little-heard, bluegrass sides like “Lonesome Wind” seemed to promise a bright future. But a devastating car wreck and a host of legal and personal troubles triggered a long decline into drug and alcohol abuse that undermined Busby’s career and led him to sum up, “I started at the top and diligently worked my way to the bottom.”

Entertaining and vivid, BUZZ BUSBY tells the story of a musician’s musician and his hardscrabble life in bluegrass.