Best of all, McGuane brings to life the horses he has known, celebrating the unique glories that make each of them memorable. McGuane's writing is infused with a love of the cowboy life and the animals and people who inhabit that world where the intimate dance between horse and rider is as magical as flight--well beyond what the human body could ever discover on its own.

    Each year, the series editor and guest editor curates a truly exceptional collection. The only shared traits among all these diverse styles, voices, and stories are the extraordinarily high caliber of writing, and the pure passion they tap into that can only come from sports.

    His books sell in their hundreds of thousands across the world, are often made into films, and have turned him into arguably the most successful writer of the horror genre. Yet despite his worldwide fan base, surprisingly little is known about the man himself. In this work, Craig Cabell has written an in-depth biography of the man with his full cooperation. Herbert has granted the author a number of rare interviews, and the result is a frank and revealing portrait of one of the giants of contemporary popular fiction. In addition to this, Herbert has granted the author full access to his photographic archives and provided unreleased material to publish in this book.

    Now in his late fifties, he has clocked up many thousands of hours of reflection. It shows in his prose, which proceeds at a refreshingly deliberative pace as it draws the reader into his patterns and rhythms.In this deeply appealing and engaging collection of essays, Birkerts looks back through his own life, as well as at the generations before him, and ahead at the lives of his children. We read how the writer witnesses his son's frightening sailing accident, how he feels when he encounters his own prose from many years ago, how finding a cigarette lighter or a lost ring releases a cascade of memories. The objects he sees around him--old friends, remembered places--are excavated, their layers exposed.But most winning of all is the emerging character of Birkerts himself. We come to have great respect for this competitive but deeply loyal friend, the caring father who respects his children's independence even as he tries to connect with them, the traveler, the onetime bookseller, the writer at all stages of his writing life, and throughout it all, the attentive, passionate reader.

    She contributes regularly to The New Yorker and the New York Review of Books on a range of subjects, and each piece of hers is a literary event in its own right.Arranged into five sections--In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free--this new collection poses questions we immediately recognize. What is The Social Network--and Facebook itself--really about? "It's a cruel portrait of us: 500 million sentient people entrapped in the recent careless thoughts of a Harvard sophomore." Why do we love libraries? "Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay." What will we tell our granddaughters about our collective failure to address global warming? "So I might say to her, look: the thing you have to appreciate is that we'd just been through a century of relativism and deconstruction, in which we were informed that most of our fondest-held principles were either uncertain or simple wishful thinking, and in many areas of our lives we had already been asked to accept that nothing is essential and everything changes--and this had taken the fight out of us somewhat."Gathering in one place for the first time previously unpublished work, as well as already classic essays, such as, "Joy," and, "Find Your Beach," Feel Free offers a survey of important recent events in culture and politics, as well as Smith's own life. Equally at home in the world of good books and bad politics, Brooklyn-born rappers and the work of Swiss novelists, she is by turns wry, heartfelt, indignant, and incisive--and never any less than perfect company. This is literary journalism at its zenith.

    This is the voice her readers have come to rely on - insistently honest, unflinching, self-mocking and always hilarious.In Mexico, she tries to write a novel, while the toilet explodes in the house, the gardener hoses her notes and the young maid questions her about plastic surgery. In Poland she retraces the steps of her much-loved character from Too Many Men, Ruth Rothwax, and finds herself surprised to hear Ruth's words coming out of her own mouth. In between she writes for the first time about the devastation of losing her New York home to fire and having to rebuild not only a life but a history. She also offers powerful insights into her adopted city New York, both before and after the tragic events of September 11.Brett's witty and audacious eye captures thos moments of humour, pain and love in life that move and haunt us all. Between Mexico and Poland is Lily Brett at her very best.

    I spent time looking for a book which would show me how a "raw" story was developed through drafts, with comments received and the changes made. Struggling to find such a work, I decided to create my own, being transparent and honest in the details. Using the story that gained me an offer of a place on a Master's in Creative Writing, SHORT STORY will take you through three drafts of the work.The book details not only the major revisions, feedback given by a professional novelist and an academic, but also has a bunch of tips from my writers toolbox condensed between the drafts. I hope that the process provides something useful for you, be it a tip from the writing toolbox, a look at the editing process, or motivation in knowing that you can do better than I did!

    For much of his career, Vance has also been one of the field's most private writers, an author who preferred to let his work speak for him. Now, at last, to coincide with the release of the tribute anthology Songs of the Dying Earth, Jack gives us this intimate and fascinating glimpse into his rich and eventful life, and a valuable insight into how he went about practicing his craft. For fans of the Grand Master's work, these memoirs are something to be treasured.

    An artist and a showman he was always willing to take the difficult fight: his gruelling encounters with Roberto Duran, Thomas Hearns and Marvin Hagler have become legendary.Ruthlessly honest and inspiring, Ray's autobiography lets you get into the ring - with the mind games, brutality and euphoria. But, outside of the ring, Ray's biggest opponent of all was himself. From early domestic violence and experience of sexual abuse, he began a determined rise to Olympic champion and national icon, before losing control of his life at the height of his career in the blur of fame, sex, greed, drink and drug addiction that cost him so much.The Big Fight is a remarkable portrait of the rise, fall and final redemption of a true fighter in every sense.

    Memories of his own life and of his friends, colleagues and enemies - from Roald Dahl and philosopher A.J. Ayer to Margaret Thatcher.

    During a time when the nation seemed hardly to recognize itself, Talese wrote some of the most illuminating and influential magazine articles of all time, canonical works of New Journalism like "Frank Sinatra Has a Cold" that elevated the form and brought to it a cachet and creativity formerly reserved for fiction.Taking its name from Talese's 2011 New Yorker account of a revealing studio session with avant-pop star Lady Gaga and old-school crooner Tony Bennett, High Notes draws from six decades of Talese's work, from his long-form pieces for Esquire to his more autobiographical writings of the eighties and nineties to his twenty-first century reflections on New York, New Yorkers, and the institution of which he is the longtime chronicler, the New York Times. Each one of Talese's masterful books was an extension of an article collected here. High Notes will appeal to fans of those classics and to students of narrative nonfiction, a genre for which Talese has been so instrumental. The book includes an introduction by Creative Nonfiction founder Lee Gutkind.

    Her compelling and demanding collection The Death of Adam—in which she reflected on her Presbyterian upbringing, investigated the roots of Midwestern abolitionism, and mounted a memorable defense of Calvinism—is respected as a classic of the genre, praised by Doris Lessing as “a useful antidote to the increasingly crude and slogan-loving culture we inhabit.” In this new collection she returns to the themes which have preoccupied her work: the role of faith in modern life, the inadequacy of fact, the contradictions inherent in human nature. Clear-eyed and forceful as ever, Robinson demonstrates once again why she is regarded as a modern rhetorical master.

    These are among the people that Joseph Mitchell immortalized in his reportage for The New Yorker and in four books—McSorley's Wonderful Saloon, Old Mr. Flood, The Bottom of the Harbor, and Joe Gould's Secret—that are still renowned for their precise, respectful observation, their graveyard humor, and their offhand perfection of style.These masterpieces (along with several previously uncollected stories) are available in one volume, which presents an indelible collective portrait of an unsuspected New York and its odder citizens—as depicted by one of the great writers of this or any other time.

    She has written a stunningly original book of essays whose concerns range from the most minimal and personal subjects to the most encompassing matters of art and culture. The titles themselves speak to the volume's uniqueness: "On lice," "On sleeping in the theater," "On motherhood and stools (the furniture kind)," "Greek masks and Bell's palsy."100 Essays I Don't Have Time to Write is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life.

    These pieces thus explore, with quiet grace, the unexpected pleasures that are gleaned from an appreciation of the ordinary - a sleeping cat, a blooming garden, a well-cooked meal. Such familiar - even ostensibly mundane - details of our lives, Steinbach maintains, play a far more important part in shaping our identities and our sense of our relationship to the world than do the exotic encounters or momentous events to which we attach much significance. Alternately poignant and humorous, sedately contemplative and bristling with emotional energy, Steinbach's various musings on the daily rhythms of her own moods and experiences transform everyday life into a rich and meaningful journey.