During the following ten years they were lovers, worked closely together and she became mother to two of his children, Claude and Paloma. Life with Picasso, her account of those extraordinary years, is filled with intimate and astonishing revelations about the man, his work, his thoughts and his friends - Matisse, Braque, Gertrude Stein and Giacometti, among others. Francois Gilot paints a compelling portrait of her turbulent life with the temperamental (and even abusive) genius that was Picasso. As one of the few intimate witnesses to Picasso as a human being and as an artist, her account of him is invaluable for assessing him on both counts.

    Stewart's captivating missives from her homestead in Wyoming bring to full life the beauty, isolation, and joys of working the prairie.

    With her first taste of dirt, she learns the horrifying truth of her mother’s death. Disturbed by what she witnesses, the woman keeps her visions to herself. But when Earth-eater begins an unlikely relationship with a withdrawn police officer, word of her ability begins to spread, and soon desperate members of her community beg for her help, anxious to uncover the truth about their own loved ones.Surreal and haunting, spare yet complex, Earth-eater is a dark, emotionally resonant tale told from a feminist perspective that brilliantly explores the stories of those left behind—the women enduring the pain of uncertainty, whose lives have been shaped by violence and loss.

    They all have one person in common, their beloved therapist Natasha who, though central to the lives of all of the women, is absent from their meeting. The women represent the many cultural and social groups that modern Chile is comprised of—from a housekeeper to celebrity television personality. They are of disparate ages and races and their lives have been touched by major political events from the dictatorship of Pinochet to the Israel-Palestine conflict. But despite their differences, as the women tell their stories, unlikely bonds are formed, and their lives are transformed in this intricately woven, beautifully rendered tale of the universal bonds between women from one of Latin America’s most celebrated novelists.

    She reveals the story of her own growth in tandem with the growth of an ongoing movement for equality. This is the story at the heart of My Life on the Road.

    I Don't Care About Your Band posits that lately the worst guys to date are the ones who seem sensitive. It's the jerks in nice guy clothing, not the players in Ed Hardy, who break the hearts of modern girls who grew up in the shadow of feminism, thinking they could have everything, but end up compromising constantly. The cowards, the kidults, the critics, and the contenders: these are the stars of Klausner's memoir about how hard it is to find a man--good or otherwise--when you're a cynical grown-up exiled in the dregs of Guyville. Off the popularity of her New York Times "Modern Love" piece about getting the brush-off from an indie rock musician, I Don't care About Your Band is marbled with the wry strains of Julie Klausner's precocious curmudgeonry and brimming with truths that anyone who's ever been on a date will relate to. Klausner is an expert at landing herself waist-deep in crazy, time and time again, in part because her experience as a comedy writer (Best Week Ever, TV Funhouse on SNL) and sketch comedian from NYC's Upright Citizens Brigade fuels her philosophy of how any scene should unfold, which is, "What? That sounds crazy? Okay, I'll do it." I Don't Care About Your Band charts a distinctly human journey of a strong-willed but vulnerable protagonist who loves men like it's her job, but who's done with guys who know more about love songs than love. Klausner's is a new outlook on dating in a time of pop culture obsession, and she spent her 20's doing personal field research to back up her philosophies. This is the girl's version of High Fidelity. By turns explicit, funny and moving, Klausner's debut shows the evolution of a young woman who endured myriad encounters with the wrong guys, to emerge with real- world wisdom on matters of the heart. I Don't Care About Your Band is Julie Klausner's manifesto, and every one of us can relate.

    Remarkable for its wit and frankness, the book is a moving record of a woman's survival on the margins of Japanese society -- in the words of the translator, "the superbly told tale of a woman whom fortune never favored yet never defeated."

    Mary Anne Schwalbe is waiting for her chemotherapy treatments when Will casually asks her what she's reading. The conversation they have grows into tradition: soon they are reading the same books so they can have something to talk about in the hospital waiting room. The ones they choose range from classic to popular, from fantastic to spiritual, and we hear their passion for reading and their love for each other in their intimate and searching discussions. A profoundly moving testament to the power of love between a child and parent, and the power of reading in our lives.

     After the birth of her first child in 2006, Turkish writer Elif Shafek suffered from postpartum depression that triggered a profound personal crisis. Infused with guilt, anxiety, and bewilderment about whether she could ever be a good mother, Shafak stopped writing and lost her faith in words altogether. In this elegantly written memoir, she retraces her journey from free-spirited, nomadic artist to dedicated but emotionally wrought mother. Identifying a constantly bickering harem of women who live inside of her, each with her own characteristics--the cynical intellectual, the goal-oriented go-getter, the practical-rational, the spiritual, the maternal, and the lustful--she craves harmony, or at least a unifying identity. As she intersperses her own experience with the lives of prominent authors such as Sylvia Plath, Virginia Woolf, Alice Walker, Ayn Rand, and Zelda Fitzgerald, Shafak looks for a solution to the inherent conflict between artistic creation and responsible parenting. With searing emotional honesty and an incisive examination of cultural mores within patriarchal societies, Shafak has rendered an important work about literature, motherhood, and spiritual well-being.

    One day he was a doctor treating the dying, and the next he was a patient struggling to live. And just like that, the future he and his wife had imagined evaporated. When Breath Becomes Air chronicles Kalanithi's transformation from a naïve medical student "possessed," as he wrote, "by the question of what, given that all organisms die, makes a virtuous and meaningful life" into a neurosurgeon at Stanford working in the brain, the most critical place for human identity, and finally into a patient and new father confronting his own mortality. What makes life worth living in the face of death? What do you do when the future, no longer a ladder toward your goals in life, flattens out into a perpetual present? What does it mean to have a child, to nurture a new life as another fades away? These are some of the questions Kalanithi wrestles with in this profoundly moving, exquisitely observed memoir. Paul Kalanithi died in March 2015, while working on this book, yet his words live on as a guide and a gift to us all. "I began to realize that coming face to face with my own mortality, in a sense, had changed nothing and everything," he wrote. "Seven words from Samuel Beckett began to repeat in my head: 'I can't go on. I'll go on.'" When Breath Becomes Air is an unforgettable, life-affirming reflection on the challenge of facing death and on the relationship between doctor and patient, from a brilliant writer who became both.

    When her father told her she was to spend a holiday with relatives in North Yemen, she jumped at the chance. Aged 15 and 13 respectively, Zana and her sister discovered that they had been literally sold into marriage, and that on their arrival they were virtually prisoners. They had to adapt to a completely alien way of life, with no running water, dung-plastered walls, frequent beatings, and the ordeal of childbirth on bare floors with only old women in attendance. After eight years of misery and humiliation Zana succeeded in escaping, but her sister is still there, and it seems likely that she will now never leave the country where she has spent more than half her life. This is an updated edition of Zana's account of her experiences.

    From the unforgettable moment when a wild chimpanzee gently grasps her hand to the terror of a hostage-taking and the sorrow of her husband's death. Here, thoughtfully exploring the challenges of both science and the soul, she offers an inspiring, optimistic message as profound as the knowledge she brought back from the forests, and that gives us all...reason for hope.

    She spent most of the next two years on the ward for teenage girls in a psychiatric hospital as renowned for its famous clientele--Sylvia Plath, Robert Lowell, James Taylor, and Ray Charles--as for its progressive methods of treating those who could afford its sanctuary. Kaysen's memoir encompasses horror and razor-edged perception while providing vivid portraits of her fellow patients and their keepers. It is a brilliant evocation of a "parallel universe" set within the kaleidoscopically shifting landscape of the late sixties. Girl, Interrupted is a clear-sighted, unflinching documnet that gives lasting and specific dimension to our definitions of sane and insane, mental illness and recovery.

    Dealing with these losses, one after another, made Jesmyn ask the question: why? And as she began to write about the experience of living through all the dying, she realized the truth--and it took her breath away. Her brother and her friends all died because of who they were and where they were from, because they lived with a history of racism and economic struggle that fostered drug addiction and the dissolution of family and relationships. Jesmyn says the answer was so obvious she felt stupid for not seeing it. But it nagged at her until she knew she had to write about her community, to write their stories and her own. Jesmyn grew up in poverty in rural Mississippi. She writes powerfully about the pressures this brings, on the men who can do no right and the women who stand in for family in a society where the men are often absent. She bravely tells her story, revisiting the agonizing losses of her only brother and her friends. As the sole member of her family to leave home and pursue high education, she writes about this parallel American universe with the objectivity distance provides and the intimacy of utter familiarity.

    What does she look like?" As the only African American soloist dancing with the prestigious American Ballet Theatre, Misty Copeland has made history. But when she first placed her hands on the barre at an after-school community center, no one expected the undersized, anxious thirteen-year-old to become a ground-breaking ballerina. When she discovered ballet, Misty was living in a shabby motel room, struggling with her five siblings for a place to sleep on the floor. A true prodigy, she was dancing en pointe within three months of taking her first dance class and performing professionally in just over a year: a feat unheard of for any classical dancer. But when Misty became caught between the control and comfort she found in the world of ballet and the harsh realities of her own life (culminating in a highly publicized custody battle), she had to choose to embrace both her identity and her dreams, and find the courage to be one of a kind. With an insider's unique point of view, Misty opens a window into the life of a professional ballerina who lives life center stage: from behind the scenes at her first auditions to her triumphant roles in some of the most iconic ballets. But in this beautifully written memoir, she also delves deeper to reveal the desire and drive that made her dreams reality. Life in Motion is a story of passion and grace for anyone who has dared to dream of a different life.