It contains sketches of orange growers, orange botanists, orange pickers, orange packers, early settlers on Florida's Indian River, the first orange barons, modern concentrate makers, and a fascinating profile of Ben Hill Griffin of Frostproof, Florida who may be the last of the individual orange barons. McPhee's astonishing book has an almost narrative progression, is immensely readable, and is frequently amusing. Louis XIV hung tapestries of oranges in the halls of Versailles, because oranges and orange trees were the symbols of his nature and his reign. This book, in a sense, is a tapestry of oranges, too—with elements in it that range from the great orangeries of European monarchs to a custom of people in the modern Caribbean who split oranges and clean floors with them, one half in each hand.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    Her episodic "missives" cover territory from the chaos of a frenetic childhood to love affairs, failed and otherwise, to the Chernobyl nuclear accident, to an ocean-crossing search for her Eastern European roots. In confident, lyrical prose, Kupperman leads the reader through a winding gallery--a collection of still lifes and portraits, landscapes of loneliness and love.

    Her stories of being single in middle age, marked by stylish writing and stunning candor, left readers bent double with laughter when they appeared in her column, rated "Best of Baltimore" by Baltimore Magazine.Highs in the Low Fifties follows Winik’s attempt to rebuild her world as a once-widowed, once-divorced single mom. With her signature optimism, resilience, and poor judgment, Winik dives into a series of ill-starred romantic experiences. Her clarity about her mistakes and ability to find humor in the darkest moments—in love, and in all parts of life—has won her a growing crowd of devoted followers . . . and a few voyeurs.

    The Geek Feminist Revolution also features several entirely new essays written specifically for this volume.Unapologetically outspoken, Hurley has contributed essays to The Atlantic, Locus, Tor.com, and elsewhere on the rise of women in genre, her passion for science fiction and fantasy, and the diversification of publishing.

    In our language, in our stories (many written by men), we underline the idea that women who step out of bounds--who are angry or greedy or ambitious, who are overtly sexual or not sexy enough--aren't just outside the norm. They're unnatural. Monstrous. But maybe, the traits we've been told make us dangerous and undesirable are actually our greatest strengths.Through fresh analysis of 11 female monsters, including Medusa, the Harpies, the Furies, and the Sphinx, Jess Zimmerman takes us on an illuminating feminist journey through mythology. She guides women (and others) to reexamine their relationships with traits like hunger, anger, ugliness, and ambition, teaching readers to embrace a new image of the female hero: one that looks a lot like a monster, with the agency and power to match.Often, women try to avoid the feeling of monstrousness, of being grotesquely alien, by tamping down those qualities that we're told fall outside the bounds of natural femininity. But monsters also get to do what other female characters--damsels, love interests, and even most heroines--do not. Monsters get to be complete, unrestrained, and larger than life. Today, women are becoming increasingly aware of the ways rules and socially constructed expectations have diminished us. After seeing where compliance gets us--harassed, shut out, and ruled by predators--women have never been more ready to become repellent, fearsome, and ravenous.

    Rather, this is a drop in the ocean, a paddle in the shallow end of sex history, but I hope you will get pleasantly wet nonetheless.The act of sex has not changed since people first worked out what went where, but the ways in which society dictates how sex is culturally understood and performed have varied significantly through the ages. Humans are the only creatures that stigmatise particular sexual practices, and sex remains a deeply divisive issue around the world. Attitudes will change and grow – hopefully for the better – but sex will never be free of stigma or shame unless we acknowledge where it has come from.

    Dumb crooks, celebrities gone bad, unsolved mysteries, odd laws, and more—Strange Crime has plenty of stories that will make you ask yourself, “What could they possibly have been thinking?” This easily portable paperback book is ideal for readers on the go. Take it to school, to work, to jury duty!

    The excitement began the moment "The Fourth State of Matter," one of the fourteen extraordinary personal narratives in this book, appeared in the pages of The New Yorker. It increased when the author received a prestigious Whiting Foundation Award in November 1997, & it continued as the hardcover edition of The Boys of My Youth sold out its first printing even before publication. The author writes with perfect pitch as she takes us through one woman's life -- from childhood to marriage & beyond -- & memorably captures the collision of youthful longing & the hard intransigences of time & fate.

    Structured around the forty questions Luiselli translates and asks undocumented Latin-American children facing deportation, Tell Me How It Ends (an expansion of her 2016 Freeman's essay of the same name) humanizes these young migrants and highlights the contradiction of the idea of America as a fiction for immigrants with the reality of racism and fear both here and back home."

    In 2006, she had just signed her first record deal and, after placing as first runner-up for Miss World, was a sought-after fashion model and icon within the Iranian dissident community. But one afternoon, she received an email that would change the course of her life. The subject of that email—a Kurdish girl named Nazanin Fatehi—was facing execution in Iran, as punishment for stabbing a man who had tried to rape her. Afshin-Jam quickly came to Fatehi's defence, striding into the world of international diplomacy and confronting the dark side of the country of her birth, with its honour killings, violence against women and state-sanctioned executions of children. While Fatehi languished in prison, experiencing conditions so deplorable she attempted to end her own life, Afshin-Jam worked desperately on the campaign to save her. The Tale of Two Nazanins weaves together the lives of two women—one leading a life of opportunity, the other living in abject poverty—and a fight for justice that, if only for a moment, brought the Iranian regime to its knees. An inspiring story about the bonds of sisterhood, this extraordinary book speaks to the power of every individual to foster positive change in the world.

    . . wanting to understand what is on the American mind should rush to the nearest bookstore and buy a copy of this distinguished anthology . . . Exhilarating.” — Publishers WeeklyThe Best American Essays 2014 is selected and introduced by John Jeremiah Sullivan, author of  the critically acclaimed essay collection Pulphead. The New York Times placed Sullivan “among the best young nonfiction writers in English” and the New York Times Book Review heralded Pulphead as “the best, and most important, collection of magazine writing since Wallace’s A Supposedly Fun Thing I’ll Never Do Again.”

    Guest editor David Maraniss, a Pulitzer Prize-winning journalist and author, has assembled a fresh crop of the people and stories that dominated the sports world in 2006.Michael Lewis gives a behind-the-scenes look at the legendary football coach Bill Parcells. Bob Hohler delves in the murky waters of modern amateur basketball, where teams blatantly dole out cash to players and shoe companies set their sights on prospects as young as twelve. William Rhoden traces the fate of an unknown filly injured on the racetrack. Jeff MacGregor describes the unforgettable Friars Club roast of boxing's provocative promoter Don King. Daniel Coyle follows a forty-year-old Slovene soldier who might be the world’s best ultra-endurance athlete. L. Jon Wertheim tells of a young pro-basketball player who found himself wrestling the shoe bomber Richard Reid to the ground during a transatlantic flight. And Derek Zumsteg provides a hilarious and utterly original in-depth account of the baseball career of Bugs Bunny, “the greatest banned player ever.”These pieces and many more go beyond the spotlight, revealing the people and issues that make sports so relevant and important to all of us.The white coon / Larry Brown --Bugs Bunny, greatest banned player ever / Derek Zumsteg --Ready for some fútbol? / Oscar Casares --The game of the year / Chris Ballard --Filling in the pieces of Jake Scott / Dave Hyde --Fading away / Wright Thompson --Deal of the century / John Klima --An unknown filly dies, and the crowd just shrugs / William C. Rhoden --Let us now raze famous men / Jeff MacGregor --Only medal for Bode is fool's gold / Sally Jenkins --That which does not kill me makes me stranger / Daniel Coyle --Polite when in neutral / Mimi Swartz --Snook / Ian Frazier --Blank Monday / William Finnegan --What keeps Bill Parcells awake at night / Michael Lewis --The madness of John Chaney / Robert Huber --The real deal in so many ways / Michael Wilbon --$neaker war / Bob Hohler --Baseball for life / Sara Corbett --A new game plan / Eli Saslow --The Saturday game / Eric Neel --Playing 4 keeps / Bryan Smith --The ultimate assist / L. Jon Wertheim --In Iraq, soccer field is no longer a refuge / Bruce Wallace --A moment of silence / Steve Friedman --Team Hoyt starts again / John Brant --The big show by little people / Paul Cullum --Talking turkey / Bill Buford

    The chafing restrictions of a typical upbringing in upper-class, small town Alabama simply did not apply to Zelda, who was described as an unusual child and permitted to roam the streets with little supervision. Zelda refused to blossom into a typical 'Southern belle' on anyone's terms but her own and while still in high school enjoyed the status of a local celebrity for her shocking behavior. Everybody in town knew the name Zelda Sayre. Queen of the Montgomery social scene, Zelda had a different beau ready and willing to show her a good time for every day of the week. Before meeting F. Scott Fitzgerald, Zelda's life was a constant pursuit of pleasure. With little thought for the future and no responsibilities to speak of, Zelda committed herself fully to the mantra that accompanied her photo in her high school graduation book: "Why should all life be work, when we all can borrow. Let's think only of today, and not worry about tomorrow." But for now Zelda was still in rehearsal for her real life to begin, a life she was sure would be absolutely extraordinary. Zelda Sayre married F. Scott Fitzgerald on the 3rd of April 1920 and left sleepy Montgomery behind in order to dive headfirst into the shimmering, glamourous life of a New York socialite. With the publication of Scott's first novel, This Side of Paradise, Zelda found herself thrust into the limelight as the very epitome of the Flapper lifestyle. Concerned chiefly with fashion, wild parties and flouting social expectations, Zelda and Scott became icons of the Jazz Age, the personification of beauty and success. What Zelda and Scott shared was a romantic sense of self-importance that assured them that their life of carefree leisure and excess was the only life really worth living. Deeply in love, the Fitzgeralds were like to sides of the same coin, each reflecting the very best and worst of each other. While the world fell in love with the image of the Fitzgeralds they saw on the cover of magazines, behind the scenes the Fitzgerald's marriage could not withstand the tension of their creative arrangement. Zelda was Scott's muse and he mercilessly mined the events of their life for material for his books. Scott claimed Zelda's memories, things she said, experiences she had and even passages from her diary as his possessions and used them to form the basis of his fictional works. Zelda had a child but the domestic sphere offered no comfort or purpose for her. The Flapper lifestyle was not simply a phase she lived through, it formed the very basis of her character and once the parties grew dull, the Fitzgeralds' drinking became destructive and Zelda's beauty began to fade, the world held little allure for her. Zelda sought reprieve in work and tried to build a career as a ballet dancer. When that didn't work out she turned to writing but was forbidden by Scott from using her own life as material. Convinced that she would never leave her mark on the world as deeply or expressively as Scott had, Zelda retreated into herself and withdrew from the people she knew in happier times. The later years of Zelda's life were marred by her detachment from reality as, diagnosed with schizophrenia, Zelda spent the last eighteen years of her life living in and out of psychiatric hospitals. As Scott's life unraveled due to alcohol abuse, Zelda looked back on the years they had spent together, young and wild and beautiful, as the best of her life. She may have been right but she was wrong about one thing, Zelda did leave her mark on the world and it was a deep and expressive mark that no one could have left but her. Zelda Fitzgerald: The Biography

    But all rage isn't created equal. Who gets to be angry? (If there's now space for cis white women's anger, what about black women? Trans women?) How do women express their anger? And what will they do with it-individually and collectively? In Burn It Down, a diverse group of women authors explore their rage-from the personal to the systemic, the unacknowledged to the public. One woman describes her rage at her own body when she becomes ill with no explanation. Another writes of the anger she inherits from her father. One Pakistani American writes, "To openly express my anger would be too American," and explains why. Broad-ranging and cathartic, Burn It Down is essential reading for any woman who has burned with rage but questioned if she is entitled to express it.