H. Lawrence. He wanted, in fact, to write his "Lawrence book." The problem was, he had no idea what his "Lawrence book" would be, though he was determined to write a "sober academic study." Luckily for the reader, he failed miserably.Out of Sheer Rage is a harrowing, comic, and grand act of literary deferral. At times a furious repudiation of the act of writing itself, this is not so much a book about Lawrence as a book about writing a book about Lawrence. As Lawrence wrote about his own study of Thomas Hardy, "It will be about anything but Thomas Hardy, I am afraid-queer stuff-but not bad."

    . . racial complications, vast sums of money made and lost, the return of the prodigal son, and maybe even bloody murder."In lyrical prose and startlingly revealing photographs, she crafts a totally original form of personal history that has the page-turning drama of a great novel but is firmly rooted in the fertile soil of her own life.

    In it, she confronts a meticulous diary that she has kept for twenty-five years. “I wanted to end each day with a record of everything that had ever happened,” she explains. But this simple statement belies a terror that she might forget something, that she might miss something important. Maintaining that diary, now eight hundred thousand words, had become, until recently, a kind of spiritual practice.Then Manguso became pregnant and had a child, and these two Copernican events generated an amnesia that put her into a different relationship with the need to document herself amid ongoing time.Ongoingness is a spare, meditative work that stands in stark contrast to the volubility of the diary—it is a haunting account of mortality and impermanence, of how we struggle to find clarity in the chaos of time that rushes around and over and through us.“Bold, elegant, and honest . . . Ongoingness reads variously as an addict’s testimony, a confession, a celebration, an elegy.” —The Paris Review“Manguso captures the central challenge of memory, of attentiveness to life . . . A spectacularly and unsummarizably rewarding read.” —Maria Popova, Brain Pickings

    It chronicles the back-story of Greenwich Village in the early days of the folk music explosion, when Dylan was honing his skills and she was in the ring with him.A shy girl from Queens, Suze Rotolo was the daughter of Italian working-class Communists. Growing up at the start of the Cold War and during McCarthyism, she inevitably became an outsider in her neighborhood and at school. Her childhood was turbulent, but Suze found solace in poetry, art, and music. In Washington Square Park, in Greenwich Village, she encountered like-minded friends who were also politically active. Then one hot day in July 1961, Suze met Bob Dylan, a rising young musician, at a folk concert at Riverside Church. She was seventeen, he was twenty; they were young, curious, and inseparable. During the years they were together, Dylan was transformed from an obscure folk singer into an uneasy spokesperson for a generation.Suze Rotolo’s story is rich in character and setting, filled with vivid memories of those tumultuous years of dramatic change and poignantly rising expectations when art, culture, and politics all seemed to be conspiring to bring our country a better, freer, richer, and more equitable life. She writes of her involvement with the civil rights movement and describes the sometimes frustrating experience of being a woman in a male-dominated culture, before women’s liberation changed the rules for the better. And she tells the wonderfully romantic story of her sweet but sometimes wrenching love affair and its eventual collapse under the pressures of growing fame.A Freewheelin’ Time is a vibrant, moving memoir of a hopeful time and place and of a vital subculture at its most creative. It communicates the excitement of youth, the heartbreak of young love, and the struggles for a brighter future.

    Left to run wild with his sister, his father off in some parallel universe of his own invention, Everett's upbringing was 'ridiculous, sometimes tragic and always unsteady'. But somehow he manages to not only survive his crazy upbringing and ensuing tragedies; he makes something of his life, striking out on a journey to find himself by channelling his experiences into his, eventually, critically acclaimed music with the Eels. But it's not an easy path. Told with surprising candour, Things The Grandchildren Should Know is an inspiring and remarkable story, full of hope, humour and wry wisdom.

    In 1982, K Records released its first cassette and put its own spin on punk's defiant manifesto: You don't need anyone's permission to make music. Thirty years later, the label continues to operate in the underground while rightfully claiming a role as one of the most transformative engines of modern independent music. It has also galvanized the international pop underground, helped create the grunge scene that took over pop culture, and provided a launching pad for the riot grrrl movement that changed the role of women in music forever. Love Rock Revolution tells the story of how it all happened, recounting the early journeys of K Records founder Calvin Johnson from the punk mecca of London to the hardcore clubs of Washington, D.C., in the late-'70s, the creation of K Records in the '80s, the label's role in revolutionizing independent music in the '90s, and its struggle to survive that revolution with its integrity intact.

    It is portable, it has history, and it will always be hip. But why has the guitar become such a classic? Will Hodgkinson, a wannabe guitar player, whose only experience was an afternoon's bashing on a friend's guitar at the age of sixteen, set out to find out. Along the way he hoped to teach himself a few chords too. His goal was to get good enough to play before a live audience in just six months--even if it threatened to drive his wife and family to the point of insanity. His trip becomes an odyssey: He chats with British folk legend Bert Jansch, ex-Smith's guitarist Johnny Marr, and reclusive folk guitar legend Davey Graham, as well as Sufjan Stevens, PJ Harvey, and Cat Power's chanteuse Chan Marshall. He travels to America and with a hurricane brewing visits Roger McGuinn from the Byrds. He travels to the Deep South, looking for the spirit of Robert Johnson, and drops in on T-Model Ford, an old bluesman living in Mississippi. Gloriously readable and highly amusing, Guitar Man is classic obsessional nonfiction for a nation of guitar freaks.

    They named him Richard, but he quickly became known as Rick.Rick was a likable little fellow who had a talent for the piano and for making trouble, and music became Rick's life. Later he joined a popular music group called Yes and became a legend. Much later he became a Grumpy Old Man who appears on Countdown, hosts a hugely popular radio show on Planet Rock and performs a one-man show telling stories about his rather extraordinary life.Which is where this book you are holding comes in. Mr Wakeman is simply one of the great storytellers of our age - let's face it, he has some fabulous material. It seemed a shame that some of the funniest yarns should not be more widely known. So he accepted some cash and here we are.Curl up by the fire with a Grumpy Old Rock Star and your nearest and dearest. We defy you not to want to read it aloud and laugh.

    He digs deep into the album cuts of his life and unearths some pivotal moments in black art, hip hop, and pop culture.Ahmir "Questlove" Thompson is many things: virtuoso drummer, producer, arranger, Late Night with Jimmy Fallon bandleader, DJ, composer, and tireless Tweeter. He is one of our most ubiquitous cultural tastemakers, and in this, his first book, he reveals his own formative experiences--from growing up in 1970s West Philly as the son of a 1950s doo-wop singer, to finding his own way through the music world and ultimately co-founding and rising up with the Roots, a.k.a., the last hip hop band on Earth. Mo' Meta Blues also has some (many) random (or not) musings about the state of hip hop, the state of music criticism, the state of statements, as well as a plethora of run-ins with celebrities, idols, and fellow artists, from Stevie Wonder to KISS to D'Angelo to Jay-Z to Dave Chappelle to...you ever seen Prince roller-skate?!?But Mo' Meta Blues isn't just a memoir. It's a dialogue about the nature of memory and the idea of a post-modern black man saddled with some post-modern blues. It's a book that questions what a book like Mo' Meta Blues really is. It's the side wind of a one-of-a-kind mind.It's a rare gift that gives as well as takes.It's a record that keeps going around and around.

    "No rock critic-living or dead, American or otherwise-has ever written about pop music with the evocative, hyperpoetic perfectitude of Rob Sheffield." So said Chuck Klosterman about Love is a Mix Tape, Sheffield's paean to a lost love via its soundtrack. Now, in Talking to Girls About Duran Duran, Sheffield shares the soundtrack to his eighties adolescence. When he turned 13 in 1980, Rob Sheffield had a lot to learn about women, love, music and himself, and in Talking to Girls About Duran Duran we get a glimpse into his transformation from pasty, geeky "hermit boy" into a young man with his first girlfriend, his first apartment, and a sense of the world. These were the years of MTV and John Hughes movies; the era of big dreams and bigger shoulder pads; and, like any all-American boy, this one was searching for true love and maybe a cooler haircut. It's all here: Inept flirtations. Dumb crushes. Deplorable fashion choices. Members Only jackets. Girls, every last one of whom seems to be madly in love with the bassist of Duran Duran. Sheffield's coming-of-age story is one that we all know, with a playlist that any child of the eighties or anyone who just loves music will sing along with. These songs-and Sheffield's writing-will remind readers of that first kiss, that first car, and the moments that shaped their lives.

    Grant McLennan didn’t want to be in a group, and couldn’t even play an instrument. That didn’t stop the singer-songwriter duo of Forster/McLennan becoming one of the most acclaimed partnerships in Australian music history.Just as The Go-Betweens always defied categorisation, Grant & I is like no other rock memoir. At its heart is a privileged insight into a prolific artistic collaboration that lasted three decades, and an extraordinary friendship that rode out the band’s break-up to remain strong until Grant’s premature death in 2006.Unconventional in lineup and look, noted for near misses and near hits, always a beat to one side of the mainstream – the band’s unusual beginnings were followed by twists that often confounded its members as well as fans and record companies. The story of The Go-Betweens is also the story of the times, and Grant & I is a wonderfully perceptive look at the music industry and a brilliantly fresh take on the sounds of the era.As distinctive a writer of prose as he is of songs, Robert Forster is wise and witty, intimate and frank, astute and knowledgeable. There could be no better tribute than Grant & I to this partnership and band who remain loved and revered.

    Scott Fitzgerald, Ernest Hemingway, Tennessee Williams, John Berryman, John Cheever, and Raymond Carver. All six of these writers were alcoholics, and the subject of drinking surfaces in some of their finest work, from Cat on a Hot Tin Roof to A Moveable Feast. Often they did their drinking together—Hemingway and Fitzgerald ricocheting through the cafés of 1920s Paris; Carver and Cheever speeding to the liquor store in Iowa in the icy winter of 1973.Olivia Laing grew up in an alcoholic family herself. One spring, wanting to make sense of this ferocious, entangling disease, she took a journey across America that plunged her into the heart of these overlapping lives. As she travels from Cheever's New York to Williams' New Orleans, from Hemingway's Key West to Carver's Port Angeles, she pieces together a topographical map of alcoholism, from the horrors of addiction to the miraculous possibilities of recovery. Beautiful, captivating and original, The Trip to Echo Spring strips away the myth of the alcoholic writer to reveal the terrible price creativity can exert.

    More recently, Rolling Stone named it the twenty-fifth greatest album of all time and the hit TV series Glee devoted an entire episode to songs from "Rumours," introducing it to a new generation. Now, for the first time, Ken Caillat, the album's co-producer, tells the full story of what really went into making "Rumours"--from the endless partying and relationship dramas to the creative struggles to write and record "You Make Loving Fun," "Don't Stop," "Go Your Own Way," "The Chain," and other timeless tracks.Tells the fascinating, behind-the-music story of the making of Fleetwood Mac's "Rumours," written by the producer who saw it all happen Filled with new and surprising details, such as Stevie Nicks and Lindsey Buckingham's screaming match while recording "You Make Loving Fun," how the band coped with the pressures of increasing success, how the master tape nearly disintegrated, and the incredible attention paid to even the tiniest elements of songs, from Lindsey playing a chair to Mick breaking glass Includes eighty black-and-white photographs

    A top-scoring striker with Paris Saint-Germain and captain of the Swedish national team, he has dominated the world’s most storied teams, including Ajax, Juventus, Inter Milan, Barcelona, and AC Milan. But his life wasn’t always so charmed. Born to Balkan immigrants who divorced when he was a toddler, Zlatan learned self-reliance from his rough-and-tumble neighborhood. While his father, a Bosnian Muslim, drank to forget the war back home, his mother’s household was engulfed in chaos. Soccer was Zlatan’s release. Mixing in street moves and trick plays, Zlatan was a wild talent who rode to practice on stolen bikes and relished showing up the rich kids—opponents and teammates alike. Goal by astonishing goal, the brash young outsider grew into an unlikely prodigy and, by his early twenties, an international phenomenon. Told as only the man himself could tell it, featuring stories of friendships and feuds with the biggest names in the sport, I Am Zlatan is a wrenching, uproarious, and ultimately redemptive tale for underdogs everywhere.

    In the course of unpacking some of her own stories—of her mother and her decline from memory loss, of a trip to Iceland, of an illness—Solnit revisits fairytales and entertains other stories: about arctic explorers, Che Guevara among the leper colonies, and Mary Shelley’s Dr. Frankenstein, about warmth and coldness, pain and kindness, decay and transformation, making art and making self. Woven together, these stories create a map which charts the boundaries and territories of storytelling, reframing who each of us is and how we might tell our story.