The pieces come in the wake of a stroke Gilb suffered at his home in Austin, Texas, in 2009, and a majority of the stories were written over many months of recovery. The result is a powerful and triumphant collection that tackles common themes of mortality and identity and describes the American experience in a raw, authentic vernacular unique to Gilb.These ten stories take readers throughout the American West and Southwest, from Los Angeles and Albuquerque to El Paso and Austin. Gilb covers territory familiar to some of his earlier work—a mother and son’s relationship in Southern California in the story ‘Uncle Rock’ or a character looking to shed his mixed up past in ‘The Last Time I Saw Junior’—while dealing with themes of mortality and limitation that have arisen during his own illness. Confronting issues of masculinity, sexuality, and mortality, Gilb has recovered and produced what may be his most extraordinary achievement to date.

    Ng has a knack for making the familiar both fascinating and achingly funny. Three years after his bestselling début HONG KONG State of Mind, the razor-sharp observer returns with a sequel that is bigger and every bit as poignant.No City for Slow Men is a collection of 36 essays that examine some of the pressing social, cultural and existential issues facing Hong Kong. It takes us on a tour de force from the gravity-defying property market to the plunging depths of old age poverty, from the storied streets of Sheung Wan to the beckoning island of Cheung Chau, from the culture-shocked Western expat to the misunderstood Mainland Chinese and the disenfranchised foreign domestic worker. The result is a treatise on Hong Kong life that is thought-provoking, touching and immensely entertaining.Together with HONG KONG State of Mind (2010) and Umbrellas in Bloom (2016), (2010), No City For Slow Men forms Ng’s "Hong Kong Trilogy" that traces the city’s sociopolitical developments since its return to Chinese rule.

    Robert Macfarlane travels Britain's ancient paths and discovers the secrets of our beautiful, underappreciated landscape.Following the tracks, holloways, drove-roads and sea paths that form part of a vast ancient network of routes criss-crossing the British Isles and beyond, Robert Macfarlane discovers a lost world - a landscape of the feet and the mind, of pilgrimage and ritual, of stories and ghosts; above all of the places and journeys which inspire and inhabit our imaginations.

      From 1919 to 1986, if you were Jewish and lived in New York City, there was one word that could make you sigh with longing: Grossinger’s. Founded as a simple backwoods retreat, the resort grew to cover twelve hundred acres and become the premier summer destination for the great and the not-so-great to mingle, drink, dance, and romance the summers away. A true melting pot of the Borscht Belt, sports, and show-biz worlds, its loyal visitors included Rocky Marciano, Mel Brooks, and Jackie Robinson. And it’s where Tania Grossinger grew up.   In this fascinating insider’s account, Grossinger sheds light on what it was like to live in the place where everyone else wanted to be—from thousands of strangers coming into your home expecting to be treated like royalty, finding clever ways to have fun and just be a kid while staying out of everyone else’s way, coming to grips with the daunting world outside of Grossinger’s, and stumbling onto startling discoveries like adults who drink, curse, fight, and have actual sex.  Growing Up at Grossinger’s is both a wonderful coming-of-age story and “a delightful look at how America, especially Jewish America, enjoyed itself before the airplane took us in different directions” (Publishers Weekly).   INCLUDES PHOTOGRAPHS  “To be devoured in one non-stop gulp . . . fascinating reading.” —The New York Post  “Tania Grossinger’s childhood was the stuff of modern fairytales. Like a version of Kay Thomson’s Plaza Hotel-dwelling Eloise by way of ‘Dirty Dancing.’” —Jewish Daily Forward

    In this single, from n+1 (Issue 12), Kent Russell gives a remarkable (and very funny) report on the festival and a sympathetic account of the situation of the white poor in the US.

    Bright's stories in magazines like Salon, Playboy, and Bust have drawn cultish followings, and her books are national bestsellers. Mommy's Little Girl contains selected writing since the birth of Bright's now twelve-year-old daughter, Aretha. Challenging the idea that a woman cannot be a mother and sex goddess at the same time, this book positions Bright as a beacon of hope for women who feel that their days of openness about their sexuality must come to an end after they have a child. Bright describes how her daughter and her classmates have made her aware of how sexually charged children are these days, yet dangerously lack a proper education about their own bodies. From reminiscing on her role as "lesbian consultant" to the directors of The Matrix to her hilarious instruction for both men and women on how to ruin their sex lives in twelve easy steps, Bright's always provocative, often hilarious prose is sure to appeal to anyone with a heartbeat, and tops it off with the perfect end to perfect sex — a recipe for lustful cherry pie!

    Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV-everywhere, all the time. The accumulative stresses come to bear on a person's ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named "post-race" society.

    Goode" affixed to the Voyager spacecraft, Let Me Clear My Throat dissects the whys and hows of popular voices, making them hum with significance and emotion. There are murders of punk rock crows, impressionists, and rebel yells; Howard Dean's "BYAH!" and Marlon Brando's "Stella!" and a stock film yawp that has made cameos in movies from A Star is Born to Spaceballs. The voice is thought's incarnating instrument and Elena Passarello's essays are a riotous deconstruction of the ways the sounds we make both express and shape who we are—the annotated soundtrack of us giving voice to ourselves.Elena Passarello is an actor and writer originally from Charleston, South Carolina. She studied nonfiction at the University of Pittsburgh and the University of Iowa, and her essays have appeared in Creative Nonfiction, Gulf Coast, Slate, Iowa Review, The Normal School, Literary Bird Journal, Ninth Letter, and in the music writing anthology Pop Till the World Falls Apart. She has performed in several regional theaters in the East and Midwest, originating roles in the premieres of Christopher Durang's Mrs. Bob Cratchit's Wild Christmas Binge and David Turkel's Wild Signs and Holler. In 2011 she became the first woman winner of the annual Stella Screaming Contest in New Orleans.

    From Robert James Waller comes a wonderful collection of 19 essays--all of them as romantic, reflective, and timeless as readers have come to expect from the author of The Bridges of Madison County--a celebration of life and loss, of what things still can be.Excavating Rachael's room --Slow waltz for Georgia Ann --Incident at Sweet's Marsh --A canticle for roadcat --Romance --A rite of passage in three cushions --The boy from the Burma hump --Ridin' along in safety with Kennedy and Kuralt --Jump shots --The turning of fifty --I am orange band --Drinking wine the New York way --In Cedar Key, Harriet Smith loves birds and hates plastic --Brokerage --Running into Perry --The lion of winter --One good road is enough --Southern flight --A matter of honor

    Her subjects range from shaving her knuckles in grade school, to a shopping trip gone horribly awry, to dealing with internet trolls, to feeling out of place at an Indian wedding (as an Indian woman), to parsing the trajectory of fears and anxieties that pressed upon her immigrant parents and bled down a generation. Alongside these personal stories are pointed observations about life as a woman of colour, where every aspect of her appearance is open for critique, derision or outright scorn. Where strict gender rules bind in both Western and Indian cultures, forcing her to confront questions about gender dynamics, racial tensions, ethnic stereotypes and her father's creeping mortality--all as she tries to find her feet in the world.

    The piece was so hauntingly beautiful that it quickly went viral, giving birth to a non-profit organization of the same name. Now, To Write Love on Her Arms (TWLOHA) is an internationally recognized leader in suicide prevention and a source of hope, encouragement, and support for people worldwide.If You Feel Too Much is a celebration of hope, wonder, and what it means to be human. From personal stories of struggling on days most people celebrate to words of strength and encouragement in moments of loss, the essays in this book invite readers to believe that it’s okay to admit to pain and okay to ask for help. If You Feel Too Much is an important book from one of this generation’s most important voices.

    Edited and with a Preface by Gunther Stuhlmann

    Ours is such a time, and rising to the challenge, novelist and poet Fanny Howe suggests new and fruitful ways of thinking about both the artist's role and the condition of doubt. In these original meditations on bewilderment, motherhood, imagination, and art-making, Howe takes on conventional systems of belief and argues for another, brave way of proceeding. In the essays "Immanence" and "Work and Love" and those on writers such as Carmelite nun Edith Stein, French mystic Simone Weil, Thomas Hardy, and Ilona Karmel—who were particularly affected by political, philosophical, and existential events in the twentieth century--she directly engages questions of race, gender, religion, faith, language, and political thought and, in doing so, expands the field of the literary essay. A richly evocative memoir, "Seeing Is Believing," situates Howe's own domestic and political life in Boston in the late '60s and early '70s within the broader movement for survival and social justice in the face of that city's racism. Whether discussing Weil, Stein, Meister Eckhart, Saint Teresa, Samuel Beckett, or Lady Wilde, Howe writes with consummate authority and grace, turning bewilderment into a lens and a light for finding our way.

    Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world. It includes the famous essays "Notes on Camp" and "Against Interpretation," as well as her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Lévi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.This edition has a new afterword, "Thirty Years Later," in which Sontag restates the terms of her battle against philistinism and against ethical shallowness and indifference.

    Both male and female readers have acclaimed it as a witty, warm, and life-changing view of the world—"as if women mattered." Steinem's truly personal writing is here, from the humorous exposé "I Was a Playboy Bunny" to the moving tribute to her mother "Ruth's Song (Because She Could Not Sing It)" to prescient essays on female genital mutilation and the difference between erotica and pornography. The satirical and hilarious "If Men Could Menstruate" alone is worth the price of admission.This second edition features a new preface by the author and added notes on classic essays.