Tongue loosened by powerful painkillers, memory stirred by the imminence of death, Chabon’s grandfather shared recollections and told stories the younger man had never heard before, uncovering bits and pieces of a history long buried and forgotten. That dreamlike week of revelations forms the basis for the novel Moonglow, the latest feat of legerdemain from Pulitzer Prize-winning author Michael Chabon. Moonglow unfolds as the deathbed confession of a man the narrator refers to only as “my grandfather.” It is a tale of madness, of war and adventure, of sex and marriage and desire, of existential doubt and model rocketry, of the shining aspirations and demonic underpinnings of American technological accomplishment at midcentury, and, above all, of the destructive impact—and the creative power—of keeping secrets and telling lies. It is a portrait of the difficult but passionate love between the narrator’s grandfather and his grandmother, an enigmatic woman broken by her experience growing up in war-torn France. It is also a tour de force of speculative autobiography in which Chabon devises and reveals a secret history of his own imagination. From the Jewish slums of prewar South Philadelphia to the invasion of Germany, from a Florida retirement village to the penal utopia of New York’s Wallkill prison, from the heyday of the space program to the twilight of the “American Century,” the novel revisits an entire era through a single life and collapses a lifetime into a single week. A lie that tells the truth, a work of fictional nonfiction, an autobiography wrapped in a novel disguised as a memoir, Moonglow is Chabon at his most moving and inventive.

    This is the interview with the horror author Stephen King from the June 1983 issue.

    Structured according to the seasonal units of an ancient Chinese almanac, East Wind Melts the Ice is made up of 72 short chapters that can be read straight through or dipped into at random. In the essays, Dalby transports us from her Berkeley garden to the streets of Kyoto, to Imperial China, to the sea cliffs of Northern California, and to points beyond. Throughout these journeys, Dalby weaves her memories of living in Japan and becoming the first and only non-Japanese geisha, her observations on the recurring phenomena of the natural world, and meditations on the cultural aesthetics of Japan, China, and California. She illuminates everyday life as well, in stories of keeping a pet butterfly, roasting rice cakes with her children, watching whales, and pampering worms to make compost. In the manner of the Japanese personal poetic essay, this vibrant work comprises 72 windows on a life lived between cultures, and the result is a wonderfully engaging read.

    Now, seven years later, Gloria Vanderbilt is finally able to set down the terrible events of that afternoon— to which she was a witness— in a book of overwhelming intensity, feeling, and beauty.

    In a "continuous thread of revelation" she sketches her autobiography and tells us how her family and her surroundings contributed to the shaping not only of her personality but of her writing. Homely and commonplace sights, sounds, and objects resonate with the emotions of recollection: the striking clocks, the Victrola, her orphaned father's coverless little book saved since boyhood, the tall mountains of the West Virginia back country that become a metaphor for her mother's sturdy independence, Eudora's earliest box camera that suspended a moment forever and taught her that every feeling awaits a gesture. She has recreated this vanished world with the same subtlety and insight that mark her fiction.Even if Eudora Welty were not a major writer, her description of growing up in the South--of the interplay between black and white, between town and countryside, between dedicated schoolteachers and the public they taught--would he notable. That she is a splendid writer of fiction gives her own experience a family likeness to others in the generation of young Southerners that produced a literary renaissance. Until publication of this book, she had discouraged biographical investigations. It undoubtedly was not easy for this shy and reticent lady to undertake her own literary biography, to relive her own memories (painful as well as pleasant), to go through letters and photographs of her parents and grandparents. But we are in her debt, for the distillation of experience she offers us is a rare pleasure for her admirers, a treat to everyone who loves good writing and anyone who is interested in the seeds of creativity.

    She quit her job to pursue her dream. Thirty years old and a rising star at a Wall Street investment bank, Patricia wanted nothing more than to work as a foreign correspondent. So, that's just what she did, moving to Mongolia after landing an internship at the country's national TV station. Live from Mongolia follows Patricia's unlikely journey from Wall Street to Ulan Bator. Not only does Patricia manage to get promoted to anchor of the Mongolian news, she also meets some unusual people following unusual dreams of their own. There's the Mongolian hip-hop star who worked in London restaurants to make his dream come true or the French corporate exec now tracking endangered horses in the steppe. All this whilePatricia is living with Mongolian Mormons, camping with nomads in the Gobi desert, and even crashing Genghis Khan's 800th anniversary party. But of course Patricia has her fair share of stumbles, including a brief return to Wall Street--even after meeting with the president of CNN. Live from Mongolia is the story of this ongoing journey--from a corporate career to a dream job Patricia hadn't even imagined she would land.

    It was an unforgettable scene. Dina Matos McGreevey, an attractive woman in her mid-thirties, wife, mother, and First Lady of the state of New Jersey, watched silently as her husband, then New Jersey Governor Jim McGreevey, resigned his office with the revelation that he was a "gay American." The picture of grace and loyalty, perfectly composed in her pale blue suit, Dina Matos McGreevey gave no sign of the tangled mixture of fear, sorrow, and anger she felt that day, no hint of the devastation that was to come. Since then she has been asked repeatedly about the nature of her marriage, about what she knew and when she knew it. Since then, she has remained silent. Until now. Speaking up at last, Dina Matos McGreevey here recounts the details of her marriage to Jim McGreevey. What emerges is a tale of love and betrayal, of heartbreak and scandal . . . and, ultimately, hope. It all began with so much promise. Dina Matos was a responsible and civic-minded young woman who fell in love with the passion of political action. When Jim McGreevey walked into her life, he appeared to be a kind and loving man, someone with whom she could build a life based on shared ideals, a strong spiritual commitment, and a desire to make a difference in the world. Beyond their initial chemistry, Dina Matos was attracted by Jim McGreevey's principles and his unwavering devotion to his work. She didn't know that his life, and thus their marriage, were built on a foundation of lies; that his past was littered with casual sexual encounters in seedy bookstores and public parks; or that, by his own admission, he began an adulterous affair with another man while she was in the hospital awaiting the birth of their child. "Could I have known," she asks. "How could I have known?" With scalding honesty, she tells of her life with the former governor, of the politics and public service that brought them together, and the lies that tore them apart. Here is a story of a marriage that was anything but happily-ever-after, told by a strong and resilient woman who can, and finally will, speak for herself.

    What would this reading trajectory say about you? With passion, humor, and insight, the editor of The New York Times Book Review shares the stories that have shaped her life.Pamela Paul has kept a single book by her side for twenty-eight years – carried throughout high school and college, hauled from Paris to London to Thailand, from job to job, safely packed away and then carefully removed from apartment to house to its current perch on a shelf over her desk – reliable if frayed, anonymous-looking yet deeply personal. This book has a name: Bob.Bob is Paul’s Book of Books, a journal that records every book she’s ever read, from Sweet Valley High to Anna Karenina, from Catch-22 to Swimming to Cambodia, a journey in reading that reflects her inner life – her fantasies and hopes, her mistakes and missteps, her dreams and her ideas, both half-baked and wholehearted. Her life, in turn, influences the books she chooses, whether for solace or escape, information or sheer entertainment.But My Life with Bob isn’t really about those books. It’s about the deep and powerful relationship between book and reader. It’s about the way books provide each of us the perspective, courage, companionship, and imperfect self-knowledge to forge our own path. It’s about why we read what we read and how those choices make us who we are. It’s about how we make our own stories.

    Using Wilder’s stories, personal correspondence, an unpublished autobiography, and experiences in South Dakota, Hill has produced a historical-literary biography of the famous and much-loved author. Following the course of Wilder’s life, and her real family’s journey west, Hill provides a context, both familial and literary, for Wilder’s writing career.Laura Ingalls Wilder examines Wilder’s inspirations as a writer, particularly her tumultuous, but ultimately successful, professional and personal relationship with her daughter—the hidden editor—Rose Wilder Lane. Wilder produced her timeless classics with the help of, but not reliance upon, her daughter’s editorial insights. Over the course of more than thirty years, Lane and Wilder engaged in a dynamic working relationship, shifting between trust, distrust, and respect. Hill argues that they differed in their visions of the path Wilder’s career should follow, but eventually Lane’s editing brought out the best of her mother’s writing, and allowed her creativity, expression, and experiences to shine through.

    In The New York Times Book Review, Sam Tanenhaus proclaimed it "a masterpiece of American fiction" and lauded its illumination, "through the steady radiance of its author's profound moral intelligence, [of] the world we thought we knew."In Farther Away, which gathers together essays and speeches written mostly in the past five years, Franzen returns with renewed vigor to the themes, both human and literary, that have long preoccupied him. Whether recounting his violent encounter with bird poachers in Cyprus, examining his mixed feelings about the suicide of his friend and rival David Foster Wallace, or offering a moving and witty take on the ways that technology has changed how people express their love, these pieces deliver on Franzen's implicit promise to conceal nothing. On a trip to China to see first-hand the environmental devastation there, he doesn't omit mention of his excitement and awe at the pace of China's economic development; the trip becomes a journey out of his own prejudice and moral condemnation. Taken together, these essays trace the progress of unique and mature mind wrestling with itself, with literature, and with some of the most important issues of our day. Farther Away is remarkable, provocative, and necessary.

    The magnificent and long-awaited biography of the beloved writer who gave us the Manawaka novels, including The Diviners and The Stone Angel.

    She has survived brutality and discrimination with astonishing resilience and optimism. "Horrifying, heartbreaking, informative and inspiring." "A story from the heart...a riveting memoir." "An eye-opening view of life on the streets and beyond." "Cry Purple chronicles a shattered life, rebuilt through sheer determination, courage and faith." "The most inspiring story I've ever read. A must-read filled with hope."

    She held on to language for dear life and somehow -- in spite of alcoholism and the mental illness that ultimately led her to suicide -- managed to create a body of work that won a Pulitzer Prize and that still sings to thousands of readers. This exemplary biography, which was nominated for the National Book Award, provoked controversy for its revelations of infidelity and incest and its use of tapes from Sexton's psychiatric sessions. It reconciles the many Anne Sextons: the 1950s housewife; the abused child who became an abusive mother; the seductress; the suicide who carried "kill-me pills" in her handbag the way other women carry lipstick; and the poet who transmuted confession into lasting art.

    Nanny Mary was the wily matriarch, who would do almost anything to survive, including stealing from her seven children. Her nerve, humour and sheer determination were also the glue that held the family together. Roberta was born to a father Roberta’s mother adored, but that she herself would never know.In this memoir, Roberta Taylor travels to the emotional heart of her childhood to reveal the lives led by the men and women who influenced her most in her formative years. Too Many Mothers is a portrait of an embattled family at war with itself and the outside world. From petty crime to pet monkeys, tender romance to emotional blackmail, illegitimacy, adoption and even murder, Roberta Taylor has written a bittersweet and ultimately unforgettable memoir of her early life.

    . . and I don’t believe it’s true. . . . I have the impression that thinking is a form of feeling and that feeling is a form of thinking.”Susan Sontag, one of the most internationally renowned and controversial intellectuals of the latter half of the twentieth century, still provokes. In 1978 Jonathan Cott, a founding contributing editor of Rolling Stone magazine, interviewed Sontag first in Paris and later in New York. Only a third of their twelve hours of discussion ever made it to print. Now, more than three decades later, Yale University Press is proud to publish the entire transcript of Sontag’s remarkable conversation, accompanied by Cott’s preface and recollections. Sontag’s musings and observations reveal the passionate engagement and breadth of her critical intelligence and curiosities at a moment when she was at the peak of her powers. Nearly a decade after her death, these hours of conversation offer a revelatory and indispensable look at the self-described "besotted aesthete" and "obsessed moralist."“I really believe in history, and that’s something people don’t believe in anymore. I know that what we do and think is a historical creation. . . .We were given a vocabulary that came into existence at a particular moment. So when I go to a Patti Smith concert, I enjoy, participate, appreciate, and am tuned in better because I’ve read Nietzsche.”“There’s no incompatibility between observing the world and being tuned into this electronic, multimedia, multi-tracked, McLuhanite world and enjoying what can be enjoyed. I love rock and roll. Rock and roll changed my life. . . .You know, to tell you the truth, I think rock and roll is the reason I got divorced. I think it was Bill Haley and the Comets and Chuck Berry that made me decide that I had to get a divorce and leave the academic world and start a new life.”