Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Naked, When You Are Engulfed in Flames, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, Holidays on Ice, Santaland Diaries, Barrel Fever. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: Naked, published in 1997, is a collection of essays by American humorist David Sedaris. The book details Sedaris life, from his unusual upbringing in the suburbs of Raleigh, North Carolina, to his booze-and-drug-ridden college years, to his Kerouacian wandering as a young adult. The book became a best-seller and was acclaimed for its wit, dark humor and irreverent tackling of tragic events, including the death of Sedaris mother. Prior to publication, several of the essays were read by the author on the NPR program This American Life. About the early life of the Sedaris family, and David's hopes to one day be rich and famous. It is revealed that the family is actually middle class. A description of Sedaris' obsessive-compulsive and Tourettic tendencies as a child. His behavior quirks include licking light switches and kissing newspapers, and they frequently land him in trouble at school. These tendencies are abandoned when he begins smoking at college. An account of Sedaris' elderly (and slightly senile) grandmother, known as Ya-Ya. After suffering an injury she is forced to live with his family, resulting in tension for all. Eventually, at the urging of Sedaris' mom (who was against Ya-Ya moving in with the family in the first place), she is put into a low-grade nursing home. When she dies, only his father seems to mourn. A description of events regarding a pornographic book that Sedaris finds when he is a child. The book is passed between his siblings, and eventually confiscated by his mother, who in turn reads it. A description of...More: http: //booksllc.net/?id=89168

    0-935906-02-9$5.00 / Javan Press

    

    it is the facade that many of us peruse our lives carrying, often neglecting our pain, our mental health, and most importantly, the way we are more prone to hurting others when we lack this self-awareness. (w)holehearted seeks to encompass as many stories as possible, touching on several topics, namely, spirituality, feminism, colorism, domestic violence, intersectionality, mental health and more. it aims to depict that anyone with the darkest past and pitfalls can still save themselves from drowning in the difficulties that not only plague our world, but also plague our hearts.

    We know how it all turns out. But imagine if you were the people living it. If you didn't know He was coming back. If you were Mary and Martha after Lazarus died, you would have thought He came too late. If you were Peter, you would have been appalled that the Master would lower Himself into your mess to wash your feet. If you stood at the foot of the cross and heard it was finished, you would have believed it was.What shifted? What allowed them to discover hope within the hopelessness? The witness of their change in perspective teaches us of an unexpected Christ. One who shows up, turning defeat into victory, and despair into deliverance.If He did it for them, He will do it for you. The story of Easter teaches us the truth of Jesus in every unexpected season. Through Him, you can expect hope in unlikely places.

    From his earliest years, he writes in “Will,” he had “the gift of impermanence / so I would be ready, / accompanied / by a rage to prove them wrong / . . . and that I too was worthy of love.” This rage comes coupled with the poet’s own brand of love, what he calls “one / strange alone / heart’s wish / to help all / hearts.” Poetry is indeed Wright’s help, and he delivers it to us with a wry sense of the daily in America: in his wonderfully local relationship to God (whom he encounters along with a catfish in the emerald shallows of Walden Pond); in the little West Virginia motel of the title poem, on the banks of the great Ohio River, where “Tammy Wynette’s on the marquee” and he is visited by the figure of Walt Whitman, “examining the tear on a dead face.”Here, in Wheeling Motel, Wright’s poetry continues to surprise us with its frank appraisal of our soul, and with his own combustible loneliness and unstoppable joy.

    Replacing the slim volume which introduced Stevie Smith to American readers, New Selected Poems is chronologically arranged and contains 165 poems along with many of the author's doodles.

    This set includes Singing And Swinging And Getting Merry, I Know Why The Caged Bird Sings, Maya Angelou: Poems and Wouldn't Take Nothing For My Journey Now.

    This new book takes place in Lockdown Three. This time Key can make Government-sanctioned expeditions out onto the streets of London (remember?). And it is there that the inaction takes place. Phone calls to his mother, promenades with his loyal friend, bubble-negotiations, sitting his fat arse down on benches, drinking mocha. Another three months of mind-freezing inertia. This time on the move. Conversations interspersed with poetry.

    A potpourri of musings assembled with a hint of practical spirituality, to be savoured passably as an oracle of hearts to the many answers, whose questions our minds are yet to comprehend. Ivory Gleam is split into three chapters of learning, longing and loving. Each chapter is a journey traversing a different road to the ultimate destination of self-reflection.

    Poet Laureate for 2004-2006, Ted Kooser is one of America's masters of the short metaphorical poem. Dana Gioia has remarked that Kooser has written more perfect poems than any poet of his generation. Long admired and praised by other poets, Kooser is also accesible to the reader not familiar with contemporary poetry.

    The poems are mercilessly recursive, placing pressure on the lyric as a mode of both the elegiac and the ecstatic. The result is an enforced silence, urgent with grief.

    

    A satiric edge, tempered by profound compassion, cuts through many of the poems in Lux’s book. While themes of intolerance, inhumanity, loss, and a deep sense of mortality mark these poems, a lighthearted grace instills even the somberest moments with unexpected sweetness. In the title poem Lux writes, “there’s no reason for God to feel guilt / I think He was downhearted, weary, too weary / to be angry anymore . . . / He wanted each of us, / and all the things we touch . . . / to have a tiny piece of Him / though we are unqualified, / of even the crumb of a crumb.” Dark, humorous, and strikingly imaginative, this is Lux’s most compassionate work to date.

    When Robert Creeley died in March 2005, he was working on what was to be his final book of poetry. In addition to more than thirty new poems, many touching on the twin themes of memory and presence, this moving collection includes the text of the last paper Creeley gave—an essay exploring the late verse of Walt Whitman. Together, the essay and the poems are a retrospective on aging and the resilience of memory that includes tender elegies to old friends, the settling of old scores, and reflective poems on mortality and its influence on his craft. On Earth reminds us what has made Robert Creeley one of the most important and affectionately regarded poets of our time.