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.

     When Laura Munson's essay was published, "The New York Times" was so flooded with responses that they had to close down the comment feature. Readers wrote in saying that they had sent the column to all of their friends. Therapists wrote Munson to tell her that they were passing it out to their clients. What did Munson write that caused such a fervor? Laura detailed what happened when her husband of more than twenty years told her he wasn't sure he loved her anymore and wanted to move out. And while you might think you know where this story is going, this isn't the story you think it is. Laura's response to her husband: I don't buy it. In this poignant, wise, and often funny memoir, Munson recounts a period of months in which her faith in herself-and her marriage-was put to the test. Shaken to the core after the death of her beloved father, not finding the professional success that she had hoped for, and after countless hours of therapy, Laura finally, at age forty, realized she had to stop basing her happiness on things outside her control and commit herself to an "End of Suffering." "This Is Not The Story You Think It Is..." chronicles a woman coming to terms with the myths we tell ourselves-and others-about our life and realizing that ultimately happiness is completely within our control. Watch a Video

    Shiksa Goddess collects thirty-five of her urbane, inspiring, and deeply empathic essays–all written when she was in her forties, and all infused with her trademark irreverent humor.The full range of Wasserstein’s mid-life obsessions are covered in this eclectic collection: everything from Chekhov, politics, and celebrity, to family, fashion, and real estate. Whether fretting over her figure, discovering her gentile roots, proclaiming her love for ordered-in breakfasts, lobbying for affordable theater, or writing tenderly about her very Jewish mother and her own daughter, born when she was forty-eight and single, Wasserstein reveals the full, dizzying life of a shiksa goddess with unabashed candor and inimitable style.Shiksa goddess --A place they'd never seen: the theater --Hillary Clinton's muddled legacy --The forty-eight-hour turnaround --How suite it is --The LUMP list --She saw through us --First ladies get dressed --Good, better, Bette --Diary --Three sisters --Afternoon of a fan --How to do a Hollywood awards ceremony --Don't tell workshop --Wendy's workshop --The holiday chronicles --My low-fat dinner with Jamie Lee Curtis --Jill's adventures in real estate: or, I can get it for you at 3.2 --Women beware women --Designing men --The muse that mewed --Heidi chronicled --The me I'd like to be --Mom says every day is Mother's Day --Waif goodbye, hello bulge --Making nice: when is enough enough? --The state of the arts --Dear Broadway, this isn't really goodbye --Poles apart --Ah, that first feast in wild Manhattan --New York theater: isn't it romantic --Directing 101: George Abbott on what works --Theater problems? Call Dr. Chekhov --How I spent my forties --Days of awe: the birth of Lucy Jane

    Flagrantly manic and terrified that medications would cause her to lose creativity, she began a years-long struggle to find mental stability while retaining her passions and creativity.Searching to make sense of the popular concept of the crazy artist, she finds inspiration from the lives and work of other artists and writers who suffered from mood disorders, including Vincent van Gogh, Georgia O’Keeffe, William Styron, and Sylvia Plath. She also researches the clinical aspects of bipolar disorder, including the strengths and limitations of various treatments and medications, and what studies tell us about the conundrum of attempting to “cure” an otherwise brilliant mind.Darkly funny and intensely personal, Forney’s memoir provides a visceral glimpse into the effects of a mood disorder on an artist’s work, as she shares her own story through bold black-and-white images and evocative prose.

     “If you’re kicking yourself for not having accomplished all you should have by now, don’t worry about it. Even without any ‘big’ accomplishments yet to your name, you are enough.”   In this expansion of the 2017 commencement speech she gave at her hometown Langley High, Lauren Graham, the beloved star of Gilmore Girls and Parenthood, reflects on growing up, pursuing your dreams, and living in the here and now. “Whatever path you choose, whatever career you decide to go after, the important thing is that you keep finding joy in what you’re doing, especially when the joy isn’t finding you.” In her hilarious, relatable voice, Graham reminds us to be curious and compassionate, no matter where life takes us or what we’ve yet to achieve. Grounded and inspiring—and illustrated throughout with drawings by Graham herself—here is a comforting road map to a happy life.   “I’ve had ups and downs. I’ve had successes and senior slumps. I’ve been the girl who has the lead, and the one who wished she had the bigger part. The truth? They don’t feel that different from each other.”

    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.

    Vowell tackles subjects such as identity, politics, religion, art, and history with a biting humor. She searches the streets of Hoboken for traces of the town's favorite son, Frank Sinatra. She goes under cover of heavy makeup in an investigation of goth culture, blasts cannonballs into a hillside on a father-daughter outing, and maps her family's haunted history on a road trip down the Trail of Tears. Vowell has an irresistible voice—caustic and sympathetic, insightful and double-edged—that has attracted a loyal following for her magazine writing and radio monologues on This American Life.

    From Solzhenitsyn to Laura Zigman, Catherine M. to Captain Underpants, the result is a personal chronicle of insight, wit, and enough infectious enthusiasm to make a passionate reader out of anybody.

    How does an artist accomplish such an achievement, connecting deeply with an audience never met? In this groundbreaking book, one of our culture’s beloved artists offers a detailed account of her own creative process, inspirations, and unexpected connections. Patti Smith, a National Book Award-winning author, first presents an original and beautifully crafted tale of obsession—a young skater who lives for her art, a possessive collector who ruthlessly seeks his prize, a relationship forged of need both craven and exalted. She then takes us on a second journey, exploring the sources of her story. We travel through the South of France to Camus’s house, and visit the garden of the great publisher Gallimard where the ghosts of Mishima, Nabokov, and Genet mingle. Smith tracks down Simone Weil’s grave in a lonely cemetery, hours from London, and winds through the nameless Paris streets of Patrick Modiano’s novels. Whether writing in a café or a train, Smith generously opens her notebooks and lets us glimpse the alchemy of her art and craft in this arresting and original book on writing.The Why I Write series is based on the Windham-Campbell Lectures, delivered annually to commemorate the awarding of the Donald Windham-Sandy M. Campbell Literature Prizes at Yale University.

    He chronicles the torture of finding a job before the internet when you had to talk on the phone all the time, and fantasizes, as we all do, about who to tell off when he finally wins an Oscar. As Gary himself says, "These are essays from my childhood and young adulthood about things that still annoy me."Original, brazen, and laugh out loud funny, Do You Mind if I Cancel? is something not to be missed.

    She grew up in Manhattan in the 1940s and '50s, and we see her elementary school outfit, ballet costume, prom dress, etc. After her mother died, her grandparents, not wanting her to live with her father, took in Ilene and her sister; she never saw her father again. In 1955, at 20, she married her 37-year-old sociology professor in Boston. They soon divorced, and in her second marriage, which also ended in divorce, she had six children, losing one in infancy. She is now v-p of an advertising agency. Beckerman's extremely reticent text never illuminates these events, but her minimalist self-portrait is a wry commentary on the pressures women constantly face to look good. Source: PW

    A wise and brilliant guide to transforming the self and our society.In her powerful new book, critically acclaimed author Melissa Febos examines the narratives women are told about what it means to be female and what it takes to free oneself from them.When her body began to change at eleven years old, Febos understood immediately that her meaning to other people had changed with it. By her teens, she defined herself based on these perceptions and by the romantic relationships she threw herself into headlong. Over time, Febos increasingly questioned the stories she’d been told about herself and the habits and defenses she’d developed over years of trying to meet others’ expectations. The values she and so many other women had learned in girlhood did not prioritize their personal safety, happiness, or freedom, and she set out to reframe those values and beliefs.Blending investigative reporting, memoir, and scholarship, Febos charts how she and others like her have reimagined relationships and made room for the anger, grief, power, and pleasure women have long been taught to deny.Written with Febos’ characteristic precision, lyricism, and insight, Girlhood is a philosophical treatise, an anthem for women, and a searing study of the transitions into and away from girlhood, toward a chosen self.

    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.

    The tragicomedy of race, class, manners and naivete of liberalism.

    Here too is a 1976 piece from the New York Times magazine on "Why I Write"; a piece about short stories from New West in 1978; and from The New Yorker, a piece on Hemingway from 1998, and on Martha Stewart from 2000. Each one is classic Didion: incisive, bemused, and stunningly prescient.