He had decided that after our parents died he just didn't want any more fighting between what was left of us. He was twenty-four, Beth was twenty-three, I was twenty-one, Toph was eight, and all of us were so tried already, from that winter. So when something would come up, any little thing, some bill to pay or decision to make, he would just sigh, his eyes tired, his mouth in a sorry kind of smile. But Beth and I...Jesus, we were fighting with everyone, anyone, each other, with strangers at bars, anywhere -- we were angry people wanting to exact revenge. We came to California and we wanted everything, would take what was ours, anything within reach. And I decided that little Toph and I, he with his backward hat and long hair, living together in our little house in Berkeley, would be world-destroyers. We inherited each other and, we felt, a responsibility to reinvent everything, to scoff and re-create and drive fast while singing loudly and pounding the windows. It was a hopeless sort of exhilaration, a kind of arrogance born of fatalism, I guess, of the feeling that if you could lose a couple of parents in a month, then basically anything could happen, at any time -- all bullets bear your name, all cars are there to crush you, any balcony could give way; more disaster seemed only logical. And then, as in Dorothy's dream, all these people I grew up with were there, too, some of them orphans also, most but not all of us believing that what we had been given was extraordinary, that it was time to tear or break down, ruin, remake, take and devour. This was San Francisco, you know, and everyone had some dumb idea -- I mean, wicca? -- and no one there would tell you yours was doomed. Thus the public nudity, and this ridiculous magazine, and the Real World tryout, all this need, most of it disguised by sneering, but all driven by a hyper-awareness of this window, I guess, a few years when your muscles are taut, coiled up and vibrating. But what to do with the energy? I mean, when we drive, Toph and I, and we drive past people, standing on top of all these hills, part of me wants to stop the car and turn up the radio and have us all dance in formation, and part of me wants to run them all over."

    This story of three closely related Oxfordshire communities - a hamlet, the nearby village and a small market town - is based on the author's experiences during childhood and youth. It chronicles May Day celebrations and forgotten children's games, the daily lives of farmworkers and craftsmen, friends and relations - all painted with a gaiety and freshness of observation that make this trilogy an evocative and sensitive memorial to Victorian rural England.With a new introduction by Richard Mabey

    Roth watches as his eighty-six-year-old father—famous for his vigor, charm, and his repertoire of Newark recollections—battles with the brain tumor that will kill him. The son, full of love, anxiety, and dread, accompanies his father through each fearful stage of his final ordeal, and, as he does so, discloses the survivalist tenacity that has distinguished his father's long, stubborn engagement with life.

    Dark-skinned morenito had family who ignored African blood. Consolation from drugs, street fighting, and armed robbery end when Piri 22 goes to Sing Sing prison for shooting a cop. His journey continues to self-acceptance, faith, and inner confidence. 30-year anniversary edition has Intro by author.

    But eight-year-old Dennis turned out to be more than he expected—a lot more. Dennis suffered from fetal alcohol syndrome, the son of a substance abuser and alcoholic who abandoned him in a seedy motel at the age of one-and-a-half. His father died of an overdose. Seized by the state, Dennis was shuffled between eight different foster homes in less than eight years. He was abused and beaten severely in at least tow of his placements. Dennis was diagnosed with attention-deficit hyperactivity disorder, and put on Ritalin and then Disipramine. He was prone to violent emotional outbursts. His case history identified him as "hard to place" —a euphemism for "unadoptable." But for David Gerrold it was love at first sight…

    Best mates since they met on their first day at uni, Anthony Bennett and James Carroll both dreamed of working with animals from the time they were knee high. Little did these down-to-earth country vets know their dreams would find them unlikely TV stars, their larrikinism and genuine affection for the people they meet and the animals they treat winning the hearts of Australians everywhere. Village Vets takes us back to their early years, from their hilarious escapades at university, to their intrepid adventures in the UK and the Australian bush, to setting up their own practice in an idyllic coastal town in New South Wales. But if you thought country towns were sleepy, think again. Anthony and James have done it all - operated on guinea pigs and euthanased fish; treated a horse that had lost its foot and fixed a prolapsed cow with a piece of polypipe. And then there was the day that involved four calvings, one severed artery, one fox-bait poisoning, one skewered kelpie, one snakebite and 480 kilometres of driving ...An Australian version of James Herriot's All Creatures Great and Small, Village Vets will by turns charm you, make you laugh out loud and bring a tear to your eye. Join Anthony and James as they take you on an unforgettable journey into the heartache and joy of life as country vets, who are so often up to their armpits in ... something!

    A young man is just a college freshman when he meets Emily. They share a passion for Edward Albee and ecstasy and fall hard and fast in love. But soon Emily has to move home to Elba, New York, and he flunks out of school and joins the army. Desperate to keep their relationship alive, they marry before he ships out to Iraq. But as an army medic, he is unprepared for the grisly reality that awaits him. His fellow soldiers smoke; they huff computer duster; they take painkillers; they watch porn. And many of them die. He and Emily try to make their long-distance marriage work, but when he returns from Iraq, his PTSD is profound, and the drugs on the street have changed. The opioid crisis is beginning to swallow up the Midwest. Soon he is hooked on heroin, and so is Emily. They attempt a normal life, but with their money drying up, he turns to the one thing he thinks he could be really good at – robbing banks.Hammered out on a prison typewriter, Cherry marks the arrival of a raw, bleakly hilarious, and surprisingly poignant voice straight from the dark heart of America.

    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.

    Omma had committed the sin of sleeping with an American soldier, and producing not just a bastard, but a mixed-race child, considered worthless. Abandoned at a Christian orphanage in post-war Seoul like so much garbage, bleeding and terrified, Kim unwittingly embarked on the next phase of her extraordinary journey. Left at a Christian orphanage in postwar Seoul like garbage, bleeding and terrified, Kim unwittingly embarked on the next phase of her extraordinary life when she was adopted by a childless Fundamentalist pastor and his wife in the United States. Unfamiliar with Western customs and language, but terrified that she would be sent back to the orphanage, or even killed, Kim trained herself to be the perfect child. But just as her Western features doomed her in Korea, so her Asian features served as a constant reminder that she wasn't good enough for her new, all-white environment. After escaping her adoptive parents' home, only to find herself in an abusive and controlling marriage, Kim finally made a break for herself by having a daughter and running away with her to a safer haven--something Omma could not do for her. Unflinching in her narration, Kim tells of her sorrows with a steady and riveting voice, and ultimately transcends them by laying claim to all the joys to which she is entitled.

    Years of listening to other people's stories of going through tough times, hoping to overcome difficult odds, or trying to find a way to make a difference in the world brought Edward Grinnan to the undersanding that personal change is vital to achieving success. In each chaper of this book, he weaves the tales of other people with his own story to reveal how each of us can learn about the keys to powerful personal change. He shows these principles at work in his own personal struggle with alcoholism, and how he has learned through his own missteps to accept change and become the person he was meant to be.

     Michaela DePrince was known as girl Number 27 at the orphanage, where she was abandoned at a young age and tormented as a "devil child" for a skin condition that makes her skin appear spotted. But it was at the orphanage that Michaela would find a picture of a beautiful ballerina en pointe that would help change the course of her life. At the age of four, Michaela was adopted by an American family, who encouraged her love of dancing and enrolled her in classes. She went on to study at the Jacqueline Kennedy Onassis School at the American Ballet Theatre and is currently a member of the Dutch National Ballet’s junior company. She has appeared in the ballet documentary "First Position," as well as on "Dancing with the Stars, Good Morning America," and "Nightline." In this engaging, moving, and unforgettable memoir, Michaela shares her dramatic journey from an orphan in West Africa to becoming one of ballet's most exciting rising stars.

    Here is the poignant journey of a minority student who pays the cost of his social assimilation and academic success with a painful alienation--from his past, his parents, his culture--and so describes the high price of making it in middle-class America. Provocative in its positions on affirmative action and bilingual education, Hunger of Memory is a powerful political statement, a profound study of the importance of language and the moving, intimate portrait of a boy struggling to become a man.

    Now, in her first-ever memoir, the fan favorite star of Bravo’s The Real Housewives of Beverly Hills bares her heart, mind, and soul. In Pretty Mess, Erika spills on every aspect of her life: from her rise to fame as a daring and fiery pop/dance performer and singer; to her decision to accept a role on reality television; to the ups and downs of family life (including her marriage to famed lawyer Tom Girardi, thirty-three years her senior). There’s much more to Erika Jayne than fans see on The Real Housewives of Beverly Hills. Pretty Mess is her opportunity to dig deep and tell her many-layered, unique, and inspiring life story. As fun and fearless as its author, this fascinating memoir proves once and for all why Erika Jayne is so beloved: she’s strong, confident, genuine, and here to tell all!

    Both sought to redefine themselves beneath the stars. By the time they made it to the snowy Cascade Range of British Columbia—the trail’s end—Aspen and Justin were in love.Embarking on a new pilgrimage the next summer, they returned to those same mossy mountains where they’d met, and they married. They built a world together, three years of a happy marriage. Until a cold November morning, when, after kissing Aspen goodbye, Justin left to attend the funeral of a close friend.He never came back. As days became weeks, her husband’s inexplicable absence left Aspen unmoored. Shock, grief, fear, and anger battled for control—but nothing prepared her for the disarming truth. A revelation that would lead Aspen to reassess not only her own life but that of the disappeared as well.The result is a brave and inspiring memoir of secrets kept and unearthed, of a vanishing that became a gift: a woman’s empowering reclamation of unmitigated purpose in the surreal wake of mystifying loss.

    Tongue loosened by powerful painkillers, memory stirred by the imminence of death, Chabon’s grandfather shared recollections and told stories the younger man had never heard before, uncovering bits and pieces of a history long buried and forgotten. That dreamlike week of revelations forms the basis for the novel Moonglow, the latest feat of legerdemain from Pulitzer Prize-winning author Michael Chabon. Moonglow unfolds as the deathbed confession of a man the narrator refers to only as “my grandfather.” It is a tale of madness, of war and adventure, of sex and marriage and desire, of existential doubt and model rocketry, of the shining aspirations and demonic underpinnings of American technological accomplishment at midcentury, and, above all, of the destructive impact—and the creative power—of keeping secrets and telling lies. It is a portrait of the difficult but passionate love between the narrator’s grandfather and his grandmother, an enigmatic woman broken by her experience growing up in war-torn France. It is also a tour de force of speculative autobiography in which Chabon devises and reveals a secret history of his own imagination. From the Jewish slums of prewar South Philadelphia to the invasion of Germany, from a Florida retirement village to the penal utopia of New York’s Wallkill prison, from the heyday of the space program to the twilight of the “American Century,” the novel revisits an entire era through a single life and collapses a lifetime into a single week. A lie that tells the truth, a work of fictional nonfiction, an autobiography wrapped in a novel disguised as a memoir, Moonglow is Chabon at his most moving and inventive.