Pragmatic utopian and practical visionary, Jefferson was one of the most creative men who ever lived. He penned the thirty-five most revolutionary words in the history of the English language: "We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty, and the pursuit of Happiness." Humanities scholar Clay Jenkinson has written a bold call for a Jeffersonian renewal in America. "We need the Sage of Monticello's vision as we begin what is the most difficult periods of American history." The Jeffersonian consists of self-reliance, an uncompromising dedication to liberty (over security, profit, comfort, and tradition), an unambiguous wall of seperation between church and state, first-rate public education, thoughtfulness and diffidence about America's place in the world, and a commitment to civility. Jefferson brought genius (not to mention reason, good sense, and idealism) to whatever he undertook, and he believed that the purpose of America was not to seek glory and profit in the world's arena, but to build a nation of equality, justice, and cultural achievement. Becoming Jefferson's People is part manifesto, part call for a new political persuasion in the United States, part self-help book, and part critique of the consumerist world empire that the United States has become at the beginning of the twenty-first century.

    In “Plays With Cars,” the former Porsche manager covers some of his most ridiculous decisions, like buying an old Land Rover sight unseen, taking a Mercedes AMG station wagon to a rural Georgia dragstrip, and roadtripping across the United States in a Lotus Elise without air conditioning. He’s also reviewed his former cars, which range from a Mercedes G-wagen to a Nissan Cube. Most importantly, he wrote this entire description himself in the third person.

    . .— explored the squalid world of medical marijuana; — made a mess of himself on the road to Pittsburgh; — got upstaged on live TV by comedy legend Martin Short; — rode a Street Dragon through the laneways of Sochi; — shared a drink with Jay-Z and was then asked to leave;And much, much more!

    My goals were noble but my concerns were trivial. I desperately wanted to close the pay gap, but I also wanted to look good sitting down naked.From inclusion to the secret autonomy in rom-coms, from effective activism to what poker can tell us about power structures, Deborah explores what it means to be a twenty-first-century feminist, and encourages us to make the world better for everyone.The book also includes exclusive interviews with performers, activists and thinkers - Jessamyn Stanley, Zoe Coombs Marr, Susan Wokoma, Bisha K. Ali, Reubs Walsh, Becca Bunce, Amika George, Mo Mansfied and Leyla Hussein - plus a piece from Hannah Gadsby.

    John Crace and Spurs were made for each other. But then the team started to play like possible champions. For most fans, these are the glory moments they dream about. For Crace they just opened a new dimension of anxiety: the fear of success. Crace has supported Spurs for 40 years. His wife thinks he suffers from a psychiatric disorder, but fandom is not only one of the ways he negotiates his relationships, it also helps him make some sense of his life. Vertigo is the story of why fandom that starts out in boyish hope always ends in dark comedy.

    From THE WHORE OF MENSA, to GOD (A Play), to NO KADDISH FOR WEINSTEIN, old and new Woody Allen fans will laugh themselves hysterical over these sparkling gems.

    He is the author of an endless stream of beautiful, insane jokes on Twitter. He is sober. He is sometimes brave. He speaks French. He loves women with abundant pubic hair and saggy naturals. He has bungee jumped off of the Manhattan Bridge. He enjoys antagonizing political figures. He listens to metal while he works out. He likes to fart. He broke into an abandoned mental hospital with his mother. He played Sir Lancelot in Camelot. He has battled depression. He is funny as s***. He cleans up well. He is friends with Margaret Atwood. He is lucky to be alive.   Read these hilarious and heartbreaking true stories and learn how Rob came to be the man he is today.

    His followers multiplied and he got the attention of everyone from celebrities to production studios to major media outlets such as Time and Glamour.  Now Dear Girls breaks out of the 140-character limit as Charlie imagines what would happen if he put the wisdom of the girls to the test.  After being unceremoniously dumped by the girl he was certain was “the one,” Charlie realized his neighbors’ conversations were not only amusing, but also offered him access to a completely uncensored woman’s perspective on the world. From the importance of effectively Facebook-stalking potential girlfriends and effortlessly pulling off pastel, to learning when in the early stages of dating is too presumptuous to bring a condom and how to turn food poisoning into a dieting advantage, the girls get Charlie into trouble, but they also get him out of it—without ever having a clue of their impact on him.

    As a child, he rooted for conventionally good characters like wide-eyed Luke Skywalker in Star Wars. But as Klosterman aged, his alliances shifted—first to Han Solo and then to Darth Vader. Vader was a hero who consciously embraced evil; Vader wanted to be bad. But what, exactly, was that supposed to mean? When we classify someone as a bad person, what are we really saying (and why are we so obsessed with saying it)? In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the culture of villainy. What was so Machiavellian about Machiavelli? Why don’t we see Batman the same way we see Bernhard Goetz? Who’s more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in 1985?Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero (seemingly the only kind of hero America still creates). I Wear the Black Hat is the rare example of serious criticism that’s instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he’s doing.

    Women have been demonstrating resiliency and resolve since forever. They have incredibly strong shoulders to bear loss, hope, grief, and vision. She laughs at the days to come is how the ancient wisdom writings put it.But somehow women have gotten the message that pain and failure mean they must be doing things wrong, that they messed up the rules or tricks for a seamless life. As it turns out, every last woman faces confusion and loss, missteps and catastrophic malfunctions, no matter how much she is doing "right." Struggle doesn't mean they're weak; it means they're alive.Jen Hatmaker, beloved author, Big Sister Emeritus, and Chief BFF, offers another round of hilarious tales, frank honesty, and hope for the woman who has forgotten her moxie. Whether discussing the grapple with change ("Everyone, be into this thing I'm into! Except when I'm not. Then everyone be cool.") or the time she drove to the wrong city for a fourth-grade field trip ("Why are we in San Antonio?"), Jen parlays her own triumphs and tragedies into a sigh of relief for all normal, fierce women everywhere who, like her, sometimes hide in the car eating crackers but also want to get back up and get back out, to live undaunted "in the moment" no matter what the moments hold.

    It's a book that has remained current for over half a century, fighting off critics and changing tastes in fiction. But do even its biggest fans know all there is to appreciate about The Great Gatsby?Maureen Corrigan, the book critic for "Fresh Air" and a Gatsby lover extraordinaire, points out that while Gatsby may be the novel most Americans have read, it's also the ones most of us read too soon -- when we were "too young, too defensive emotionally, too ignorant about the life-deforming powers of regret" to really understand all that Fitzgerald was saying ("it's not the green light, stupid, it's Gatsby's reaching for it," as she puts it). No matter when or how recently you've read the novel, Corrigan offers a fresh perspective on what makes it so enduringly relevant and powerful. Drawing on her experience as a reader, lecturer, and critic, her book will be a rousing consideration of Gatsby: not just its literary achievements, but also its path to "classic" (its initial lukewarm reception has been a form of cold comfort to struggling novelists for decades), its under-acknowledged debt to hard-boiled crime fiction, its commentaries on race, class, and gender.With rigor, wit, and an evangelistic persuasiveness, Corrigan will leave readers inspired to grab their old paperback copies of Gatsby and re-experience this great novel in an entirely new light.

    He also talked a fair amount about mayonnaise. The interview was conducted by Mara Altman, the author of four bestselling Kindle Singles including “Baby Steps” and “Bearded Lady.” Altman has worked as a staff writer for The Village Voice, and has also written for New York Magazine and The New York Times. In 2009, HarperCollins published Altman's first book, “Thanks For Coming: A Young Woman's Quest for an Orgasm,” which was optioned as a comedy series by HBO. Cover design by Adil Dara Kim.

    Then she met Aaron, a charismatic art director and her kindred spirit. They made mix tapes (and pancakes) into the wee hours of the morning. They finished each other’s sentences. They just knew. When Aaron was diagnosed with a rare brain cancer, they refused to let it limit their love. They got engaged on Aaron’s hospital bed and married after his first surgery. They had a baby when he was on chemo. They shared an amazing summer filled with happiness and laughter. A few months later, Aaron died in Nora’s arms in another hospital bed. His wildly creative obituary, which they wrote together, touched the world.Now, Nora shares hysterical, moving, and painfully honest stories about her journey with Aaron. It’s Okay to Laugh explores universal themes of love, marriage, work, (single) motherhood, and depression through her refreshingly frank viewpoint. A love letter to life, in all of its messy glory, and what it’s like to still be kickin', It’s Okay to Laugh is like a long chat with a close friend over a cup of coffee (or chardonnay).