Growing up in Yorkshire and then CountyDurham, the boy who would be Reeves somehow managed to escape the attentions of 'Randy Mandy' and get a crash course in pig castration, before having encounters with Jimi Hendrix and the Yorkshire Ripper.Peopled with weird and wonderful characters, Vic Reeves' memoir is authentic, witty and inventive, and as unique as you'd expect from one of Britain's most exceptional comedy talents.

    . . I grabbed my suitcase, containing Pot. Chlor., Sulph Ac, gelignite, detonators, electrical and ignition, and the rest of my Sinn Fein conjurer's outfit, and carried it to the window . . ." The men were, of course, the police, and seventeen-year-old Behan. He spent three years as a prisoner in England, primarily in Borstal (reform school), and was then expelled to his homeland, a changed but hardly defeated rebel. Once banned in the Irish Republic, Borstal Boy is both a riveting self-portrait and a clear look into the problems, passions, and heartbreak of Ireland.

    The book is a reassessment of one of the most interesting writers of the 20th century, exploring his childhood, education and literary achievements.

    As well as recording public and historical events, Pepys paints a vivid picture of his personal life, from his socializing and amorous entanglements, to his theatre-going and his work at the Navy Board. Unequaled for its frankness, high spirits and sharp observations, the diary is both a literary masterpiece and a marvelous portrait of seventeenth-century life.Previously published as The Shorter Pepys, this edition is edited and abridged by Robert Latham, Fellow and Pepys Librarian at Magdalene College, Cambridge.

    Leading her quest is a desire to understand the source of the writer’s inspiration—do subjects haunt those that might bring them back to life until the writer submits? Or does something “happen” to us, a sudden ignition of a burning flame? Can the appearance of a muse-like Other bring about a writer’s best work?In Soul at the White Heat, Oates deploys her keenest critical faculties, conjuring contemporary and past voices whose work she deftly and creatively dissects for clues to these elusive questions. Virginia Woolf, John Updike, Emily Dickinson, Henry James, J.M. Coetzee, Margaret Atwood, Joan Didion, Zadie Smith and many others appear as predecessors and peers—material through which Oates sifts in acting as literary detective, philosopher, and student. The book is at its most thrilling when watching the writer herself at work, and Oates provides rare insight into her own process, in candid, self-aware dispatches from the author’s own writing room. The New York Times Book Review has raved, “who better than Joyce Carol Oates . . . to explicate the craft of writing?” Longtime admirers of Joyce Carol Oates’s novels as well as her prose will discover much to be inspired by and obsess upon themselves in this inventive collection from an American master.

    'An exemplary biography of its kind - detailed, meticulous and sympathetic.' Peter Ackroyd, The Times'Larkin lived a quietly noble and exemplary version of the writer's life; Motion - affectionate but undeceived about the man's frailties, a diligent researcher and a deft reader of poetry - has written an equally exemplary 'Life' of him.' Peter Conrad, Observer'Honest but not prurient, critical but also compassionate, Motion's book could not be bettered.' Alan Bennett, London Review of Books'There will be other lives of Larkin, but Motion's, like Forster's of Dickens, will always have a special place.' John Carey, Sunday Times

    Yet all of these attempts have been hampered by a fundamental lack of access and by the persistent recycling of inaccurate information. Salinger remains, astonishingly, an enigma. The complex and contradictory human being behind the myth has never been revealed.No longer. In the eight years since Salinger was begun, and especially in the three years since Salinger’s death, the authors interviewed on five continents more than 200 people, many of whom had previously refused to go on the record about their relationship with Salinger. This oral biography offers direct eyewitness accounts from Salinger’s World War II brothers-in-arms, his family members, his close friends, his lovers, his classmates, his neighbors, his editors, his publishers, his New Yorker colleagues, and people with whom he had relationships that were secret even to his own family. Shields and Salerno illuminate most brightly the last fifty-six years of Salinger’s life: a period that, until now, had remained completely dark to biographers. Provided unprecedented access to never-before-published photographs (more than 100 throughout the book), diaries, letters, legal records, and secret documents, readers will feel they have, for the first time, gotten beyond Salinger’s meticulously built-up wall. The result is the definitive portrait of one of the most fascinating figures of the twentieth century.

    Since 1999, when he made his international debut, there has been no greater player in world rugby than Brian O'Driscoll. In 2010 Rugby World magazine named him its world player of the decade - and since then the legend has only grown. Now, at the end of his amazing career - which culminated in fairy-tale fashion with Ireland's victory in the 2014 Six Nations championship - he tells his own story. Honest, gritty and thoughtful, Brian O'Driscoll's Autobiography is not just an essential sports book. It is an essential book about family, friends, hard work, courage and imagination. "An amazing career. There will only ever be one BOD". (Dan Carter). "A thoroughly enjoyable read ...After reading The Test I warmed even more to O'Driscoll as a player and a man. He stood for a new ethos in Irish sport that refused to accept mediocrity or glorious failure". (Fergal Keane, Irish Times). "O'Driscoll's honesty ...takes the reader to a place they simply have not been before". (Vincent Hogan, Irish Independent).

    The story will soon be immortalized in the upcoming film starring Salma Hayek.

     When the marines -- or "jarheads," as they call themselves -- were sent in 1990 to Saudi Arabia to fight the Iraqis, Swofford was there, with a hundred-pound pack on his shoulders and a sniper's rifle in his hands. It was one misery upon another. He lived in sand for six months, his girlfriend back home betrayed him for a scrawny hotel clerk, he was punished by boredom and fear, he considered suicide, he pulled a gun on one of his fellow marines, and he was shot at by both Iraqis and Americans. At the end of the war, Swofford hiked for miles through a landscape of incinerated Iraqi soldiers and later was nearly killed in a booby-trapped Iraqi bunker. Swofford weaves this experience of war with vivid accounts of boot camp (which included physical abuse by his drill instructor), reflections on the mythos of the marines, and remembrances of battles with lovers and family. As engagement with the Iraqis draws closer, he is forced to consider what it is to be an American, a soldier, a son of a soldier, and a man. Unlike the real-time print and television coverage of the Gulf War, which was highly scripted by the Pentagon, Swofford's account subverts the conventional wisdom that U.S. military interventions are now merely surgical insertions of superior forces that result in few American casualties. Jarhead insists we remember the Americans who are in fact wounded or killed, the fields of smoking enemy corpses left behind, and the continuing difficulty that American soldiers have reentering civilian life. A harrowing yet inspiring portrait of a tormented consciousness struggling for inner peace, Jarhead will elbow for room on that short shelf of American war classics that includes Philip Caputo's A Rumor of War and Tim O'Brien's The Things They Carried, and be admired not only for the raw beauty of its prose but also for the depth of its pained heart.

    This book will change lives.' Michael Mosley 'Two years ago I turned 50, weighed 22 stone and was heavily medicated for type 2 diabetes. I thought it would be all downhill from there. By radically changing my nutrition, cutting out sugar, and taking up exercise, I've changed my life and reversed my diabetes. I hope my story will inspire others to regain their health and happiness and discover the new lease of life I'm experiencing.'Tom Watson began to put on weight in his early twenties, having developed an appetite for fast food and cheap beer while studying at the University of Hull. As time progressed - and his penchant for anything sweet, fatty or fizzy persisted - he found himself adjusting his belt, loosening his collar and upsizing his wardrobe to XXL. He continued to pile on the pounds when he entered the world of politics as MP for West Bromwich East (despite short-lived flirtations with fad diets and fitness classes). By December 2014, his bathroom scales had tipped to 22 stone. After being diagnosed with type 2 diabetes in late 2015, he decided to take control of his diet and exercise. He started to feel better quickly and within a short time his long-term blood sugar levels were within normal range. By July 2018, he came off medication.

    He writes that having humility is a way to continue to grow, to listen, and to learn; that patience is necessary for developing both technical proficiency and your own art rather than an imitation of someone else’s; and that rules are indispensable because “freedom lives in structure.” He offers lessons learned from his years as a performer and from his great forebears Duke Ellington, Charlie Parker, and others; he explores the art of swing; he discusses why it is important to run toward your issues, not away; and he talks about what to do when your integrity runs up against the lack thereof in others and in our culture. He poetically expresses our need for healers: “All of it tracks back to how you heal your culture, one patient at a time, beginning with yourself.”This is a unique book, in which a great artist offers his personal thoughts, both on jazz and on how to live a better, more original, productive, and meaningful life. To a Young Jazz Musician is sure to be treasured by readers young and old, musicians, lovers of music, and anyone interested in being mentored by one of America’s most influential, generous, and talented artists.From the Hardcover edition.

    These beautifully produced, pocket-sized books will provide exactly what is missing in ordinary travel guides: insights and imagination that lead the reader into those parts of a city no other guide can reach.A flaneur is a stroller, a loiterer, someone who ambles through a city without apparent purpose but is secretly attuned to the history of the place and in covert search of adventure, esthetic or erotic. Edmund White, who lived in Paris for sixteen years, wanders through the streets and avenues and along the quays, taking us into parts of Paris virtually unknown to visitors and indeed to many Parisians. Entering the Marais evokes the history of Jews in France, just as a visit to the Haynes Grill recalls the presence-festive, troubled-of black Americans in Paris for a century and a half. Gays, Decadents, even Royalists past and present are all subjected to the flaneur's scrutiny. Edmund White's The Flaneur is opinionated, personal, subjective. As he conducts us through the bookshops and boutiques, past the monuments and palaces, filling us in on the gossip and background of each site, he allows us to see through the blank walls and past the proud edifices and to glimpse the inner, human drama. Along the way he recounts everything from the latest debates among French law-makers to the juicy details of Colette's life in the Palais Royal, even summoning up the hothouse atmosphere of Gustave Moreau's atelier.

    From his very first interview—as a teenager on the BBC, before he was even a musician—to his last, Bowie takes on the most probing questions, candidly discussing his sexuality, his drug usage, his sense of fashion, how he composed, and more. For fans still mourning his passing, as well as for those who know little about him, it's a revealing, interesting, and inspiring look at one of the most influential artists of the last fifty years.The first interview : BBC tonight, November 1964 / interview by Cliff Michelmore --David Bowie tells all and more : Interview, March 1973 / interview by Patrick Salvo --Beat godfather meets glitter mainman : William Burroughs, say hello to David Bowie : Rolling stone, February, 28, 1974 / interview by Craig Copetas --The raw and uncut interview : Vox pop, March 18, 1987 --David Bowie : stardust memories : reflections on a life of wit and style : Rolling stone, April 23, 1987 / interview by Keith Loder --Bowie at the bijou : Movieline, April 1, 1992 / interview with Virginia Campbell --Fashion : turn to the left : fashion : turn to the right : Dazed and confused, November 1996 / conversation with Alexander McQueen --Bust's interview with David Bowie : Bust magazine, Fall 2000 / interview by Iman --As the artist said to the rock star ... : The guardian, July 18, 2001 / conversation with Tracey Emin --The last interview : BBC Extras, September 2006.

    Placed by the parents of a 15-year-old Jewish girl, Dora Bruder, who had run away from her Catholic boarding school, the ad sets Modiano off on a quest to find out everything he can about Dora and why, at the height of German reprisals, she ran away on a bitterly cold day from the people hiding her. He finds only one other official mention of her name on a list of Jews deported from Paris to Auschwitz in September 1942. With no knowledge of Dora Bruder aside from these two records, Modiano continues to dig for fragments from Dora's past. What little he discovers in official records and through remaining family members, becomes a meditation on the immense losses of the period—lost people, lost stories, and lost history. Modiano delivers a moving account of the ten-year investigation that took him back to the sights and sounds of Paris under the Nazi Occupation, and the paranoia of the Pétain regime as he tries to find connections to Dora. In his efforts to exhume her from the past, Modiano realizes that he must come to terms with the specters of his own troubled adolescence. The result, a montage of creative and historical material, is Modiano's personal rumination on loss, both memoir and memorial.