In her 60s, Theroux (Giovanni's Light: The Story of a Town Where Time Stopped for Christmas, 2002, etc.) recorded her thoughts from 2000 to 2005. Here she presents them in a memoir of passing notions she considers worth savoring. She reflects on the pleasures of authorship and on the care of her mother, who seemed to posses psychic energy fields both before and after her death. The author chronicles her travels to Italy for writing seminars and the completion of a successful book while there, and she worries about her finances and the process of aging. With the thoughtful intimations of mortality come solipsistic paroxysms of passion and confusion. (The romance turns out well). Theroux writes of neighbors and nature, marks the passage of a pair of mallards and muses on the activities of an inchworm. In the elegiac tone of Our Town or E.B. White in full rustic mode, she pushes to make mundane matters large. She luxuriates in fanciful figures of speech-a friend is "like the net around a bag of onions"; living in small-town Ashland, Va., she sometimes feels "like a bulb in a teacup"-and she includes snippets from some of her favorite writers, including Thoreau, Emerson, Arthur Miller and Karen Armstrong. For current commentary and explanation, the author interrupts, in italics, the story by her former self. On the whole, Theroux offers pleasant reading and a few deep thoughts surrounded by stylish writing probably most appealing to female readers. A journal that may grace enough night tables to assuage the author's avowed concerns about her bank balance.

    Varying in length from just a sentence or paragraph to a several-page story or essay, Galchen’s puzzle pieces assemble into a shining, unpredictable, mordant picture of the ordinary-extraordinary nature of babies and literature. Anecdotal or analytic, each part opens up an odd and tender world of wonder. The 47 Ronin; the black magic of maternal love; babies morphing from pumas to chickens; the quasi-repellent concept of “women writers”; origami-ophilia in Oklahoma as a gateway drug to a lifelong obsession with Japan; discussions of favorite passages from the Heian masterpieces Genji and The Pillow Book; the frightening prevalence of orange as today’s new chic color for baby gifts; Frankenstein as a sort of baby; babies gold mines; babies as tiny Godzillas …Little Labors–atomized and exploratory, conceptually byzantine and freshly forthright–delights.

    Though officially unsolved, Jane’s murder was apparently the third in a series of seven brutal rape-murders in the area. Nelson was born a few years after Jane’s death, and the narrative is suffused with the long shadow her murder cast over both the family and her psyche.Jane explores the nature of this haunting incident via a collage of poetry, prose, and documentary sources, including newspapers, related "true crime" books, and fragments from Jane’s own diaries written. Each piece in Jane has its own form that serves as an important fissure, disrupting the tabloid, "page-turner" quality of the story, and eventually returning the reader to deeper questions about girlhood, empathy, identification, and the essentially unknowable aspects of another’s life and death. Part elegy, part memoir, detective story, part meditation on violence, and part conversation between the living and the dead, Jane’s powerful and disturbing subject matter, combined with its innovations in genre, expands the notion of what poetry can do—what kind of stories it can tell, and how it can tell them.

    From scowling teenager to father of two, this biting, funny collection of personal stories, peppered with moments of surprising poignancy, proves that although this infamous Kid may be all grown up, his singular brand of humor and signature wit remain firmly intact.

    With shimmering prose and mesmerizing precision, David Chariandy takes us inside the lives of Michael and Francis. They are the sons of Trinidadian immigrants, their father has disappeared and their mother works double, sometimes triple shifts so her boys might fulfill the elusive promise of their adopted home. Coming of age in The Park, a cluster of town houses and leaning concrete towers in the disparaged outskirts of a sprawling city, Michael and Francis battle against the careless prejudices and low expectations that confront them as young men of black and brown ancestry -- teachers stream them into general classes; shopkeepers see them only as thieves; and strangers quicken their pace when the brothers are behind them. Always Michael and Francis escape into the cool air of the Rouge Valley, a scar of green wilderness that cuts through their neighbourhood, where they are free to imagine better lives for themselves. Propelled by the pulsing beats and styles of hip hop, Francis, the older of the two brothers, dreams of a future in music. Michael's dreams are of Aisha, the smartest girl in their high school whose own eyes are firmly set on a life elsewhere. But the bright hopes of all three are violently, irrevocably thwarted by a tragic shooting, and the police crackdown and suffocating suspicion that follow.With devastating emotional force David Chariandy, a unique and exciting voice in Canadian literature, crafts a heartbreaking and timely story about the profound love that exists between brothers and the senseless loss of lives cut short with the shot of a gun.

    At age six she was a Chilean refugee adjusting to life as a Latina in North America. At eighteen she was a revolutionary dissident married to a generous-hearted man she couldn't fully love. In her early twenties she fought to find her voice as an actress and to break away from the stereotypical roles thrust upon her--Housekeeper, Hotel Maid, Mexican Hooker #1--all the while navigating the complex paths of lust and heartbreak. As she grew in her career, Aguirre became a writer, a director, an actress, and then a mother, but alongside her many multi-faceted identities was another that was unbearable to embrace yet impossible to escape; that of the thirteen-year-old girl attacked by one of Canada's most feared rapists. Thirty-three years after the assault, Aguirre decided it was time to meet the man who changed her life.Fierce, funny and enlightening, Aguirre interweaves her account of overcoming the attack that shook her world with a host of stories of life and love. From her passionate but explosive relationship with a gorgeous Argentinian basketball player to the all-consuming days at drama school in Vancouver; from the end of the Chilean revolutionary dream to life among the Chicano theatre scene of Los Angeles; from the child who was made the victim of a terrible crime to the artist who found the courage to confront her assailant, Aguirre tells a story of strength and survival that will leave you speechless.

    Spanning the last several years of their lives and told through four-color cartoons, family photos, and documents, and a narrative as rife with laughs as it is with tears, Chast's memoir is both comfort and comic relief for anyone experiencing the life-altering loss of elderly parents.When it came to her elderly mother and father, Roz held to the practices of denial, avoidance, and distraction. But when Elizabeth Chast climbed a ladder to locate an old souvenir from the "crazy closet"—with predictable results—the tools that had served Roz well through her parents' seventies, eighties, and into their early nineties could no longer be deployed.While the particulars are Chast-ian in their idiosyncrasies—an anxious father who had relied heavily on his wife for stability as he slipped into dementia and a former assistant principal mother whose overbearing personality had sidelined Roz for decades—the themes are universal: adult children accepting a parental role; aging and unstable parents leaving a family home for an institution; dealing with uncomfortable physical intimacies; managing logistics; and hiring strangers to provide the most personal care.An amazing portrait of two lives at their end and an only child coping as best she can, Can't We Talk about Something More Pleasant will show the full range of Roz Chast's talent as cartoonist and storyteller.

    Her parents explain that he went to the hospital for a while. "A while" turns out to be eight years in a plastic bubble, where he dies of a rare autoimmune disease at age seventeen. "The Empty Room" is DeVita-Raeburn's unflinching, often haunting recollection of life with Ted, woven into a larger exploration of the enormous -- and often unacknowledged -- impact of a sister's or brother's death on remaining siblings.With an inspired blend of life experience, journalistic acumen, and research training, DeVita-Raeburn draws on interviews of more than two hundred survivors to render a powerful portrait of the range of conditions and emotions, from withdrawal to guilt to rage, that attend such loss. Finding little in professional literature, she realizes that those who suffer are the experts. And in the end, it is DeVita-Raeburn and her experts who present a larger, more complex understanding of the sibling bond, the lifelong impact of the severing of that bond, and the tools needed to heal and move forward."The Empty Room" is a fascinating literary hybrid in which Elizabeth DeVita-Raeburn seamlessly fuses deeply affecting remembrance with a pragmatic, lucidly written exploration of the healing journey.

    I know. No one says it but I know…” —from Signs of Life Twenty-four-year-old Natalie Taylor was leading a charmed life. At the age of twenty four, she had a fulfilling job as a high school English teacher, a wonderful husband, a new house and a baby on the way.  Then, while visiting her sister, she gets the news that Josh has died in a freak accident.  Four months before the birth of her son, Natalie is leveled by loss.   What follows is an incredibly powerful emotional journey, as Natalie calls upon resources she didn’t even know she had in order to re-imagine and re-build a life for her and her son. In vivid and immediate detail, Natalie documents her life from the day of Josh’s death through the birth their son, Kai, as she struggles in her role as a new mother where everyone is watching her for signs of impending collapse.  With honesty, raw pain, and most surprising, a wicked sense of humor, Natalie recounts the agonies and unexpected joys of her new life.  There is the frustration of holidays, navigating the relationship with her in-laws, the comfort she finds and unlikely friendship she forges in support groups and the utterly breathtaking, but often overwhelming new motherhood.   When she returns to the classroom, she finds that little is more healing than the honesty and egocentricity of teenagers.   Drawing on lessons from beloved books like The Color Purple and The Catcher in the Rye and the talk shows she suddenly can’t get enough of, from the strength of her family and friends, and from a rich fantasy life—including a saucy fairy godmother who guides her grieving—Natalie embarks on the ultimate journey of self-discovery and realizes you can sometimes find the best in yourself during the worst life has to offer.  And she delivers these lessons, in way that feels like she’s right beside you in her bathrobe and with a glass of wine--the cool, funny girlfriend you love to stay up all night with.   Unforgettable and utterly absorbing, Signs of Life features a powerful, wholly original debut voice that will have you crying and laughing to the very last page.

    As an Ahmadi Muslim growing up in Pakistan, she faced regular threats from Islamic extremists who believed the small, dynamic sect to be blasphemous. From her parents, she internalized the lesson that revealing her identity could put her in grave danger.When her family came to Canada as refugees, Samra encountered a whole new host of challenges: bullies, racism, the threat of poverty, and an arranged marriage. Backed into a corner, her need for a safe space--in which to grow and nurture her creative, feminist spirit--became dire. The men in her life wanted to police her, the women in her life had only shown her the example of pious obedience, and her body was a problem to be solved.So begins an exploration of faith, art, love, and queer sexuality, a journey that takes her to the far reaches of the globe to uncover a truth that was within her all along. A triumphant memoir of forgiveness and family, both chosen and not, We Have Always Been Here is a rallying cry for anyone who has ever felt out of place and a testament to the power of fearlessly inhabiting one's truest self.

    At the age of six, she poured her pain onto a piece of paper late one night—and discovered the magic and impact of writing. For many years, Nikki's notebooks were her most enduing companions. In this memoir, Nikki shows how the power of those words helped her conquer the hazards—ordinary and extraordinary—of her life.

    The story is told by Paul Woodward, Finnie's best friend and the only good child in a long line of delinquents. Hockey is one of the few things they have in common: Finnie’s family is rich and snobbish, while Paul’s father works the night shift at the local mill owned by Finnie’s father. One fateful day, the boys noisily play hockey in the Woodwards’ driveway, keeping Paul's father awake. This seemingly innocent activity triggers a shattering chain of events. Finnie Walsh has been compared to the work of John Irving, but Galloway’s voice, most particularly his unforgettable portrait of the title character, is uniquely his own.

    That list, which included “You won’t have to shout at me that I’m deaf,” and “I won’t blame the family dog for my incontinence,” became the basis of this rousing collection of dos and don’ts, wills and won’ts that is equal parts hilarious, honest, and practical.The fact is, we don’t want to age the way previous generations did. “Old people” hoard. They bore relatives—and strangers—with tales of their aches and pains. They insist on driving long after they’ve become a danger to others (and themselves). They eat dinner at 4pm. They swear they don’t need a cane or walker (and guess what happens next). They never, ever apologize. But there is another way . . .In Stupid Things I Won’t Do When I’m Old, Petrow candidly addresses the fears, frustrations, and stereotypes that accompany aging. He offers a blueprint for the new old age, and an understanding that aging and illness are not the same. As he writes, “I meant the list to serve as a pointed reminder—to me—to make different choices when I eventually cross the threshold to ‘old.’”Getting older is a privilege. This essential guide reveals how to do it with grace, wisdom, humor, and hope. And without hoarding.

    It explores the use of art to survive abuse, incest, madness and depression, and the often deep-seated impulse toward self-destruction including cutting, eating disorders, and addiction. Here, some of our most compelling cartoonists, novelists, poets, dancers, playwrights, and burlesque performers traverse the pains and passions that can both motivate and destroy women artists, and mark a path for survival. Taken together, these artful reflections offer an honest and hopeful journey through a woman's silent rage, through the power inherent in struggles with destruction, and the ensuing possibilities of transforming that burning force into the external release of art. With contributions by Nan Goldin, bell hooks, Patricia Smith, Cristy C. Road, Carol Queen, Annie Sprinkle, Elizabeth Stephens, Carolyn Gage, Eileen Myles, Fly, Diane DiMassa, Bonfire Madigan Shive, Inga Muscio, Kate Bornstein, Toni Blackman, Nicole Blackman, Silas Howard, Daphne Gottleib, and Stephanie Howell.

    Depicting her experiences from coming out right through to gender reassignment surgery, Lily's story provides vital advice on the social, emotional and medical aspects of transitioning and will empower anyone questioning their gender.