Because really, does everyone have to be happy?Aside from her father wearing makeup and her mother not feeling well (a lot), Kim Korson’s 1970s suburban upbringing was typical. Sometimes she wished her brother were an arsonist just so she’d have a valid excuse to be unhappy. And when life moves along pretty decently--she breaks into show business, gets engaged in the secluded jungles of Mexico, and moves her family from Brooklyn to dreamy rural Vermont—the real despondency sets in. It’s a skill to find something wrong in just about every situation, but Kim has an exquisite talent for negativity. It is only after half a lifetime of finding kernels of unhappiness where others find joy that she begins to wonder if she is even capable of experiencing happiness.In I Don’t Have a Happy Place, Kim Korson untangles what it means to be a true malcontent. Rife with evocative and nostalgic observations, unapologetic realism, and razor-sharp wit, I Don’t Have a Happy Place is told in humorous, autobiographical stories. This fresh-yet-dark voice is sure to make you laugh, nod your head in recognition, and ultimately understand what it truly means to be unhappy. Always.

    Constantly. He falls helplessly in love with pretty much every girl he meets—and rarely is the feeling reciprocated. Time after time, he hops in a car and tears across half of America with his heart on his sleeve. He’s continually coming up with outrageous schemes, which he always manages to pull off. Well, almost always. But even when things don’t work out, Rothbart finds meaning and humor in every moment. Whether it’s humiliating a scammer who takes money from aspiring writers or playing harmless (but side-splitting) goofs on his deaf mother, nothing and no one is off-limits.But as much as Rothbart is a tragically lovable, irresistibly brokenhearted hero, it’s his prose that’s the star of the book. In the tradition of David Sedaris and Sloane Crosley but going places very much his own, his essays show how things that are seemingly so wrong can be so, so right.

    A deeply moving and emotional read, STRUNG OUT challenges our preconceived ideas of what addiction looks like.”—Stephanie Land, New York Times bestselling author of MaidIn this deeply personal and illuminating memoir about her fifteen-year struggle with heroin, Khar sheds profound light on the opioid crisis and gives a voice to the over two million people in America currently battling with this addiction.Growing up in LA, Erin Khar hid behind a picture-perfect childhood filled with excellent grades, a popular group of friends and horseback riding. After first experimenting with her grandmother’s expired painkillers, Khar started using heroin when she was thirteen. The drug allowed her to escape from pressures to be perfect and suppress all the heavy feelings she couldn’t understand.This fiercely honest memoir explores how heroin shaped every aspect of her life for the next fifteen years and details the various lies she told herself, and others, about her drug use. With enormous heart and wisdom, she shows how the shame and stigma surrounding addiction, which fuels denial and deceit, is so often what keeps addicts from getting help. There is no one path to recovery, and for Khar, it was in motherhood that she found the inner strength and self-forgiveness to quit heroin and fight for her life.Strung Out is a life-affirming story of resilience while also a gripping investigation into the psychology of addiction and why people turn to opioids in the first place.

    Now, in True Stories from an Unreliable Eyewitness, this acclaimed performer channels her creativity inward to share her own story for the first time on the page.In this poignant essay collection, Lahti focuses on three major periods of her life: her childhood, her early journey as an actress and activist, and the realities of her life as a middle-aged woman in Hollywood today. Lahti’s comical and self-deprecating voice shines through in stories such as "Kidnapped" and "Shit Happens," and she takes a boldly honest look at the painful fissures in her family in pieces such as "Mama Mia" and "Running on Empty." Taken together, the collection illuminates watershed moments in Lahti’s life, revealing her struggle to maintain integrity, fight her need for perfection, and remain true to her feminist inclinations.Lahti’s wisdom and candid insights are reminiscent of Nora Ephron’s I Feel Bad About My Neck and Joan Rivers’s I Hate Everyone—and yet her experiences are not exclusive to one generation. The soul of her writing can be seen as a spiritual mother to feminist actresses and comedic voices whose works are inspiring today’s young women, including Amy Schumer, Lena Dunham, Amy Poehler, Caitlin Moran, and Jenny Lawson. Her stories reveal a stumbling journey toward agency and empowerment as a woman—a journey that’s still very much a work in progress.True Stories from an Unreliable Eyewitness is about the power of storytelling to affirm and reframe the bedrock of who we are, revealing that we’re all unreliable eyewitnesses when it comes to our deeply personal memories. Told in a wildly fresh, unique voice, and with the unshakable ability to laugh at herself time and again, this is Christine Lahti’s best performance yet.

    A promising young girl with a smart mouth, Stanton turns watchful as her parents separate and her now-single mother descends into shoplifting, then grand larceny, anything to keep a toehold in the middle class for her children. No longer scared by threats of Walpole Prison, Stanton too slips into delinquency—vandalism, breaking and entering—all while nearly erasing herself through addiction to angel dust, a homemade form of PCP that swept through her hometown in the wake of Nixon’s “total war” on drugs.Body Leaping Backward is the haunting and beautifully drawn story of a self-destructive girlhood, of a town and a nation overwhelmed in a time of change, and of how life-altering a glimpse of a world bigger than the one we come from can be.

    Nothing Good Can Come from This is her debut--a frank, funny, and feminist essay collection by a keen-eyed observer no longer numbed into complacency.When Kristi stopped drinking, she started noticing things. Like when you give up a debilitating habit, it leaves a space, one that can't easily be filled by mocktails or ice cream or sex or crafting. And when you cancel Ros� Season for yourself, you're left with just Summer, and that's when you notice that the women around you are tanked--that alcohol is the oil in the motors that keeps them purring when they could be making other kinds of noise.In her sharp, incisive debut essay collection, Coulter reveals a portrait of a life in transition. By turns hilarious and heartrending, Nothing Good Can Come from This introduces a fierce new voice to fans of Sloane Crosley, David Sedaris, and Cheryl Strayed--perfect for anyone who has ever stood in the middle of a so-called perfect life and looked for an escape hatch.

    She predicted the Altamont disaster when reading the Rolling Stones' tarot cards at a party and left San Francisco for the climes of Los Angeles in 1967 when the Haight 'lost its magic.'Miss Mercy's work in the GTOs, the Frank Zappa-produced all-female band, launched her into the pages of Rolling Stone in 1969. Her adventures saw her jumping out of a cake at Alice Cooper's first record release party, while high on PCP, and had her travel to Memphis where she met Al Green and got a job working for the Bar-Kays. Along the way, she married and then divorced Shuggie Otis, before transitioning to punk rock and working with the Rockats and Gears. This is her story as she lived and saw it.Written just prior to her death in 2020, Permanent Damage shows us the world of the 1960s and 1970s music scene through Mercy's eyes, as well as the fallout of that era--experiencing homelessness before sobering up and putting her life back together. Miss Mercy's journey is a can't miss for anyone who was there and can't remember, or just wishes they'd been there.

    Dea Bala never expected the outpouring of responses that would follow. She was working as a lobbyist when the idea was born: she'd chat up respondents on the phone or at a coffee shop and let them tell her about their lives. Dea Bala soon had to quit her day job to make time for all of the Craigslist sessions. She took notes during each conversation and journaled about the emotional experience to expertly inhabit the voice of each subject. What emerges is a collection of narratives, all in first person, of anonymous people revealing their deepest, darkest secrets; or at least the most poignant moments of their lives. Infidelity, addiction, loss, corruption, the search for unconditional love—reading these carefully, empathetically crafted monologues reveals how suffering is something we all have in common. Each tragedy or triumph is unique, but the intensity of feeling is not.

    Her book is a delightful and perfect reflection of her. Its tenderness sneaks up on you and really packs a punch. What a magnificent read!"--Julia Louis DreyfusJenny Lawson meets Nora Ephron in this joyful memoir-in-vignettes on living--and thriving--with anxiety from a multiple Emmy Award-winning comedy writer whose credits include Succession and Veep.When Georgia Pritchett found herself lost for words--a bit of a predicament for a comedy writer--she turned to a therapist, who suggested she try writing down some of the things that worried her. But instead of a grocery list of concerns, Georgia wrote this book.A natural born worrywart, Georgia's life has been defined by her quirky anxiety. During childhood, she was agitated about the monsters under her bed (Were they comfy enough?). Going into labor, she fretted about making a fuss ("Sorry to interrupt, but the baby is coming out of my body," I said politely). Winning a prestigious award, she agonized over receiving free gifts after the ceremony (It was an excruciating experience. Mortifying).Soul-baring yet lighthearted, poignant yet written with a healthy dose of self-deprecation, My Mess Is a Bit of a Life is a tour through the carnival funhouse of Georgia's life, from her anxiety-ridden early childhood where disaster loomed around every corner (When I was little I used to think that sheep were clouds that had fallen to earth. On cloudy days I used to worry that I would be squashed by a sheep), through the challenges of breaking into an industry dominated by male writers, to the exquisite terror (and incomparable joy) of raising children.Delightfully offbeat, painfully honest, full of surprising wonders, and delivering plenty of hilarious, laugh-out-loud moments, My Mess Is a Bit of a Life reveals a talented, vulnerable, and strong woman in all her wisecracking weirdness, and makes us love it--and her--too.

    Now those funny, smart, passionate contributors—today less bitter and resentful, and more confident, competent, and content—capture the spirit of postfeminism in this equally provocative, illuminating, and compelling companion anthology.Having aged into their forties, fifties, and sixties, these "bitches"—bestselling authors, renowned journalists, and critically acclaimed novelists—are back . . . and better than ever. In The Bitch Is Back, Cathi Hanauer, Kate Christensen, Sarah Crichton, Debora Spar, Ann Hood, Veronica Chambers, and nineteen other women offer unique views on womanhood and feminism today. Some of the "original bitches" (OBs) revisit their earlier essays to reflect on their previous selves. All reveal how their lives have changed in the intervening years—whether they stayed coupled, left marriages, or had affairs; developed cancer or other physical challenges; coped with partners who strayed, died, or remained faithful; became full-time wage earners or homemakers; opened up their marriages; remained childless or became parents; or experienced other meaningful life transitions.As a "new wave" of feminists begins to take center stage, this powerful, timely collection sheds a much-needed light on both past and present, offering understanding, compassion, and wisdom for modern women’s lives, all the while pointing toward the exciting possibilities of tomorrow.

    By all appearances, she had mastered being a grown-up. But beneath that veneer of success, she was a chronically anxious, self-medicating mess. No one knew that her road to adulthood had been paved with depression, anxiety, and shame, owing in large part to her minimally parented upbringing. She realized she’d hit rock bottom when she drunk-dialed her therapist pleading for help.Buy Yourself the F*cking Lilies is the story of Tara’s path to re-parenting herself and becoming a “ninja of self-love.” Through simple, daily rituals, Tara transformed her mind, body, and relationships, and shows how to:• fake gratitude until you actually feel gratitude• excavate your emotional wounds and heal them with kindness• identify your self-limiting beliefs, kick them to the curb, and start living a life you choose• silence your inner frenemy and shield yourself from self-criticism• carve out time each morning to start your day empowered, inspired, and ready to rule• create a life you truly, totally f*cking LOVEThis is the book Tara wished someone had given her and it is the book many of us desperately need: a candid, hysterical, addictively readable, practical guide to growing up (no matter where you are in life) and learning to love yourself in a non-throw-up-in-your-mouth-it’s-so-cheesy way.

    There’s the time the FBI showed up at her door because of something she tweeted about Game of Thrones. The pop songs that have been the soundtrack to the worst moments of her life. And of course, the pivotal day when Orange Is the New Black hit the airwaves and broke down the door to Jill’s own sexuality. In these honest examinations of identity, desire, and self-worth, Jill explores perhaps the most monumental cultural shift of our lifetimes: the mainstreaming of lesbian culture. Dusting off her own personal traumas and artifacts of her not-so-distant youth she examines how pop culture acts as a fun house mirror reflecting and refracting our values—always teaching, distracting, disappointing, and revealing us. Girls Can Kiss Now is a fresh and intoxicating blend of personal stories, sharp observations, and laugh-out-loud humor. This timely collection of essays helps us make sense of our collective pop-culture past even as it points the way toward a joyous, uproarious, near—and very queer—future.

    In Molly Brodak’s dazzling memoir, Bandit, her eye is so honest, I found myself nodding like I was agreeing with her, sometimes cringing at what she sustained, and laughing—often. I can’t wait to buy a copy for everyone I know.”—Kathryn Stockett, author of The HelpIn the summer of 1994, when Molly Brodak was thirteen years old, her father robbed eleven banks, until the police finally caught up with him while he was sitting at a bar drinking beer, a bag of stolen money plainly visible in the backseat of his parked car. Dubbed the “Mario Brothers Bandit” by the FBI, he served seven years in prison and was released, only to rob another bank several years later and end up back behind bars.In her powerful, provocative debut memoir, Bandit, Molly Brodak recounts her childhood and attempts to make sense of her complicated relationship with her father, a man she only half knew. At some angles he was a normal father: there was a job at the GM factory, a house with a yard, birthday treats for Molly and her sister. But there were darker glimmers, too—another wife he never mentioned to her mother, late-night rages directed at the TV, the red Corvette that suddenly appeared in the driveway, a gift for her sister. Growing up with this larger-than-life, mercurial man, Brodak’s strategy was to “get small” and stay out of the way. In Bandit, she unearths and reckons with her childhood memories and the fracturing impact her father had on their family—and in the process attempts to make peace with the parts of herself that she inherited from this bewildering, beguiling man.Written in precise, spellbinding prose, Bandit is a stunning, gut-punching story of family and memory, of the tragic fallibility of the stories we tell ourselves, and of the contours of a father’s responsibility for his children.

     When Heather Havrilesky was a kid during the '70s, harrowing disaster films dominated every movie screen with earthquakes that destroyed huge cities, airplanes that plummeted towards the ground and giant sharks that ripped teenagers to shreds. Between her parents' dramatic clashes and her older siblings' hazing, Heather's home life sometimes mirrored the chaos onscreen. A thoughtful, funny memoir about surviving the real and imagined perils of childhood and early adulthood, "Disaster Preparedness" charts how the most humiliating and painful moments in Havrilesky's past forced her to develop a wide range of defense mechanisms, some adaptive, some piteously ill-suited to modern life. From premature boxing lessons to the competitive grooming of cheerleading camp, from her parents' divorce to her father's sudden death, Havrilesky explores a path from innocence and optimism to self-protection and caution, bravely reexamining the injuries that shaped her, the lessons that sunk in along the way, and the insights that carried her through. By laying bare her bumps and bruises, Havrilesky offers hope that we can find a frazzled and unruly, desperate and wistful, restless and funny and frayed-at-the-edges way of staring disaster in the face, and even rising to meet it head on. By turns offbeat, sophisticated, uproarious and wise, "Disaster Preparedness" is a road map to the personal disasters we all face from an irresistible voice that gets straight to the unexpected grace at the heart of every calamity.

    From Jill Stark, bestselling author of Happy Never After, comes this warm and practical book of tips and wisdom to help guide you through the tough times.Whether you’re having a bad day, or a run of bad days that seems never-ending, Jill offers signposts to help you find the path back to yourself.When You’re Not OK is an emotional first-aid kit for your body, mind, and soul, written by someone who’s been there too.