For several years, Lamb has taught writing to a group of women prisoners at York Correctional Institution in Connecticut. In this unforgettable collection, the women of York describe in their own words how they were imprisoned by abuse, rejection, and their own self-destructive impulses long before they entered the criminal justice system. Yet these are powerful stories of hope and healing, told by writers who have left victimhood behind. In his moving introduction, Lamb describes the incredible journey of expression and self-awareness the women took through their writing and shares how they challenged him as a teacher and as a fellow author. Couldn't Keep It to Myself is a true testament to the process of finding oneself and working toward a better day.

    In this exuberantly praised book — a collection of seven pieces on subjects ranging from television to tennis, from the Illinois State Fair to the films of David Lynch, from postmodern literary theory to the supposed fun of traveling aboard a Caribbean luxury cruiseliner — David Foster Wallace brings to nonfiction the same curiosity, hilarity, and exhilarating verbal facility that has delighted readers of his fiction, including the bestselling Infinite Jest.

    Published here in English for the first time Helene Cixous, Rootprints is an ideal introduction to Cixous's theory and her fiction, tracing her development as a writer and intellectual whose remarkable prespicacity and electrifying poetic force are known world-wide.Unprecedented in its form and content this collection breaks new ground in the theory and practice of auto/biography. Cixous's creative reflections on the past provide occasion for scintillating forays into the future.The text includes: * an extended interview between Cixous and Calle-Gruber, exploring Cixous's creative and intellectual processes* a revealing collection of photographs taken from Cixous's family album, set against a poetic reflection by the author * selections from Cixous's private notebooks* a contribution by Jacques Derrida* original 'thing-pieces' by Calle-Gruber.

    Told in her own inimitable style, this book transcends genres and categories: guidebook, memoir, poetry, and pure delight.Here in short spellbinding essays are glimpses of the tumultuous life that led Angelou to an exalted place in American letters and taught her lessons in compassion and fortitude: how she was brought up by her indomitable grandmother in segregated Arkansas, taken in at thirteen by her more worldly and less religious mother, and grew to be an awkward, six-foot-tall teenager whose first experience of loveless sex paradoxically left her with her greatest gift, a son.Whether she is recalling such lost friends as Coretta Scott King and Ossie Davis, extolling honesty, decrying vulgarity, explaining why becoming a Christian is a “lifelong endeavor,” or simply singing the praises of a meal of red rice–Maya Angelou writes from the heart to millions of women she considers her extended family. Like the rest of her remarkable work, Letter to My Daughter entertains and teaches; it is a book to cherish, savor, re-read, and share.“I gave birth to one child, a son, but I have thousands of daughters. You are Black and White, Jewish and Muslim, Asian, Spanish speaking, Native Americans and Aleut. You are fat and thin and pretty and plain, gay and straight, educated and unlettered, and I am speaking to you all. Here is my offering to you.”–from Letter to My Daughter

    Thomas Mallon weaves a remarkable assortment of epistolary riches into his own insightful and eloquent commentary on the circumstances and characters of the world’s most intriguing letter writers. Here are Madame de Sévigné’s devastatingly sharp reports from the court of Louis XIV, F. Scott Fitzgerald’s tormented advice to his young daughter, the besotted midlife billets-doux of a suddenly rejuvenated Woodrow Wilson, the casually brilliant spiritual musings of Flannery O’Connor, the lustful boastings of Lord Byron, the cries from prison of Sacco and Vanzetti. Along with the confessions and complaints and revelations sent from battlefields, frontier cabins, and luxury liners, a reader will find Mallon considering travel bulletins, suicide notes, fan letters, and hate mail–forms as varied as the human experiences behind them.Yours Ever is an exuberant reintroduction to a vast and entertaining literature–a book that will help to revive, in the digital age, this glorious lost art.

    She has written a stunningly original book of essays whose concerns range from the most minimal and personal subjects to the most encompassing matters of art and culture. The titles themselves speak to the volume's uniqueness: "On lice," "On sleeping in the theater," "On motherhood and stools (the furniture kind)," "Greek masks and Bell's palsy."100 Essays I Don't Have Time to Write is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life.

    A twenty-three year old with model girl looks and a book deal with a major publisher, she's outselling the established names in her field and is fast becoming the darling of the media.Becky Hunter has money problems. Can she earn enough from her light-hearted romance novels to counteract boyfriend Alex's extravagant spending habits, before their rocky world collapses?Hard up factory worker Jan Chilver sees writing as an escape from her troubled, lonely life. She is offered a lifeline—but fails to read the small print...In the competitive world of publishing, success can be merely a matter of who you know—and how ruthless you are prepared to be to get to the top.BEST SELLER is a novella of 40k words (roughly half as long as an average length novel), a slightly dark, slightly edgy drama with a twist or three in the tale.

    A Field Guide to Getting Lost draws on emblematic moments and relationships in Solnit's own life to explore the issues of wandering, being lost, and the uses of the unknown. The result is a distinctive, stimulating, and poignant voyage of discovery.

    It was a shock to Williams to discover that her mother had kept journals. But not as much of a shock as what she found when the time came to read them.  “They were exactly where she said they would be: three shelves of beautiful cloth-bound books . . . I opened the first journal. It was empty. I opened the second journal. It was empty. I opened the third. It too was empty . . . Shelf after shelf after shelf, all of my mother’s journals were blank.” What did Williams’s mother mean by that? In fifty-four chapters that unfold like a series of yoga poses, each with its own logic and beauty, Williams creates a lyrical and caring meditation of the mystery of her mother's journals. When Women Were Birds is a kaleidoscope that keeps turning around the question “What does it mean to have a voice?”

    Pepper's cover, Terry Southern was an audacious original. Now Dig This is a journey through Terry Southern's America, from the buttoned-down '50s through the sexual revolution, rock 'n' roll, and independent cinema (which he helped inaugurate by cowriting and producing Easy Rider), up to his death in 1995. It spans Southern's stellar career, from early short stories and a Paris Review interview with Henry Green, to his legendary Esquire piece covering the 1968 Chicago Democratic Convention with Jean Genet and William Burroughs and his equally infamous account of life neck-high in girls and cocaine aboard The Rolling Stones' tour jet, to his memories of twentieth-century legends like Abbie Hoffman, Kurt Vonnegut, and Stanley Kubrick, with whom he wrote Dr. Strangelove. "A voice electric with street rhythm and royal with offhand intellection ... stuffed with strange and silken scraps." -- Troy Patterson, Entertainment Weekly "The subterranean Texan's finest moments are exquisite reads ... like a hot poker in the eye of conventional narrative." -- A. D. Amorosi, Philadelphia City Paper "The range of writing ... [was] as lethal as Mailer claimed and still awaiting the attention it deserves." -- Charles Taylor, Newsday "... reveals a writer defined by his generosity, by the pursuit of fun and by an insatiable ... literary appetite...." -- Claire Dederer, The New York Times Book Review

    Yet Levi’s body of work extends considerably beyond his experience as a survivor. Now, the transformation of Levi from Holocaust memoirist to one of the twentieth century’s greatest writers culminates in this publication of The Complete Works of Primo Levi. This magisterial collection finally gathers all of Levi’s fourteen books—memoirs, essays, poetry, and fiction—into three slip-cased volumes. Thirteen of the books feature new translations, and the other is newly revised by the original translator. Nobel laureate Toni Morrison introduces Levi’s writing as a “triumph of human identity and worth over the pathology of human destruction.” The appearance of this historic publication will occasion a major reappraisal of “one of the most valuable writers of our time” (Alfred Kazin).The Complete Works of Primo Levi features all new translations of: The Periodic Table, The Drowned and the Saved, The Truce, Natural Histories, Flaw of Form, The Wrench, Lilith, Other People’s Trades, and If Not Now, When?—as well as all of Levi’s poems, essays, and other nonfiction work, some of which have never appeared before in English.

     Good Bones is a cornucopia of good things — precise, witty, wise, and sometimes offbeat Atwood writing, with the funny and the sidelong view of the world which her readers recognize at once.

    Filled with the sharp humor, emotional acuity, and joyful language Moore has become famous for, these nine glittering tales marked the introduction of an extravagantly gifted writer.

    It is essentially a conversation among hundreds of women of all nationalities—famous, anonymous, religious, secular, married, single, young, old—on the subject of clothing, and how the garments we put on every day define and shape our lives. It began with a survey. The editors composed a list of more than fifty questions designed to prompt women to think more deeply about their personal style. Writers, activists, and artists including Cindy Sherman, Kim Gordon, Kalpona Akter, Sarah Nicole Prickett, Tavi Gevinson, Miranda July, Roxane Gay, Lena Dunham, and Molly Ringwald answered these questions with photographs, interviews, personal testimonies, and illustrations. Even our most basic clothing choices can give us confidence, show the connection between our appearance and our habits of mind, express our values and our politics, bond us with our friends, or function as armor or disguise. They are the tools we use to reinvent ourselves and to transform how others see us. Women in Clothes embraces the complexity of women’s style decisions, revealing the sometimes funny, sometimes strange, always thoughtful impulses that influence our daily ritual of getting dressed.

    And never more so than in this extraordinary and engaging gathering of nine essays, accompanied by a brief selection of new prose poems and poems. (One of the essays has been chosen as among the best of the year by THE BEST AMERICAN ESSAYS 1998, another by The Anchor Essay Annual.) With the grace and precision that have won her legions of admirers, Oliver talks here of turtle eggs and housebuilding, of her surprise at an unexpected whistling she hears, of the "thousand unbreakable links between each of us and everything else." She talks of her own poems and of some of her favorite poets: Poe, writing of "our inescapable destiny," Frost and his ability to convey at once that "everything is all right, and everything is not all right," the "unmistakably joyful" Hopkins, and Whitman, seeking through his poetry "the replication of a miracle." And Oliver offers us a glimpse as well of her "private and natural self—something that must in the future be taken into consideration by any who would claim to know me."