Catherine Porter, a newly minted international reporter, was on the ground in the immediate aftermath. Moments after she arrived in Haiti, Catherine found her first story. A ragtag group of volunteers told her about a “miracle child”—a two-year-old girl who had survived six days under the rubble and emerged virtually unscathed.Catherine found the girl the next day. Her family was a mystery; her future uncertain. Her name was Lovely. She seemed a symbol of Haiti—both hopeful and despairing.When Catherine learned that Lovely had been reunited with her family, she did what any journalist would do and followed the story. The cardinal rule of journalism is to remain objective and not become personally involved in the stories you report. But Catherine broke that rule on the last day of her second trip to Haiti. That day, Catherine made the simple decision to enroll Lovely in school and to pay for it with money she and her readers donated.Over the next five years, Catherine would visit Lovely and her family seventeen times, while also reporting on the country’s struggles to harness the rush of international aid. Each trip, Catherine’s relationship with Lovely and her family became more involved and more complicated. Trying to balance her instincts as a mother and a journalist, and increasingly conscious of the costs involved, Catherine found herself struggling to align her worldview with the realities of Haiti after the earthquake. Although her dual roles as donor and journalist were constantly at odds, as one piled up expectations and the other documented failures, a third role had emerged and quietly become the most important: that of a friend.A Girl Named Lovely is about the reverberations of a single decision—in Lovely’s life and in Catherine’s. It recounts a journalist’s voyage into the poorest country in the Western Hemisphere, hit by the greatest natural disaster in modern history, and the fraught, messy realities of international aid. It is about hope, kindness, heartbreak, and the modest but meaningful difference one person can make.

    It reproduces extensive extracts from his correspondence and is illustrated with his paintings, drawings and facsimile letters. Van Gogh's letters are a testimony to his struggle to survive and work. Here, the combination of letters and illustrations, concentrating on the period when he painted his greatest works, aims to provide an insight into his daily life in Arles and St-Remy, his spiritual torment and the process of artistic creation itself. The author is an "Observer" journalist specializing in the arts, and has published four previous books, including "Young Vincent: The Story of Van Gogh's Years in England".

    Thomas Mallon weaves a remarkable assortment of epistolary riches into his own insightful and eloquent commentary on the circumstances and characters of the world’s most intriguing letter writers. Here are Madame de Sévigné’s devastatingly sharp reports from the court of Louis XIV, F. Scott Fitzgerald’s tormented advice to his young daughter, the besotted midlife billets-doux of a suddenly rejuvenated Woodrow Wilson, the casually brilliant spiritual musings of Flannery O’Connor, the lustful boastings of Lord Byron, the cries from prison of Sacco and Vanzetti. Along with the confessions and complaints and revelations sent from battlefields, frontier cabins, and luxury liners, a reader will find Mallon considering travel bulletins, suicide notes, fan letters, and hate mail–forms as varied as the human experiences behind them.Yours Ever is an exuberant reintroduction to a vast and entertaining literature–a book that will help to revive, in the digital age, this glorious lost art.

    And the humanitarianism took place during the heat of the battle. The GI fixed as he fought, he cured and educated and built in the middle of the battle. He truly cared for, and about, those people. What other Army has ever done that? Humanitarianism was America's great victory in Viet Nam. Spearheading the humanitarian efforts were the air ambulance operations, call-sign Dust Off, the most dangerous of all aviation operations, which rescued some one million souls in Viet Nam. Dead Men Flying is the story of Charles Kelly, the father of Dust Off, who gave his life to save Dust Off -- the greatest life-saver ever. His dying words -- "When I have your wounded" -- set the standard for combat medicine to this day. It is also the story of the author, Medal of Honor recipient General Patrick Brady, who learned from Charles Kelly and struggled to meet his standard. Brady led the 54th Medical Detachment as it rescued over 21,000 wounded -- enemy and friendly -- in 10 months, while sustaining 26 Purple Hearts. Finally, Dead Men Flying is the story of salvation in the midst of horror, courage in the face of adversity, and the miracle of faith in the heat of combat. A riveting tale from America's most decorated living soldier, this is a book that no American can afford to ignore.

    Along the way he's followed by Manitous, spirits of the forest who comment on his plight, cajoling, taunting, and ultimately offering him a type of comfort on his difficult journey back to the place he was so brutally removed from.Written by Scotiabank Giller Prize-winning author Joseph Boyden and beautifully illustrated by acclaimed artist Kent Monkman, Wenjack is a powerful and poignant look into the world of a residential school runaway trying to find his way home.

    That is what troubles animal-phobic, robotics engineer Smith who just got married. He learns that his bride’s dream is to have a farm where there are lots of animals and she can rescue ex-race horses to retrain and find them new homes. But according to a Meyers-Briggs Personality Test that they took for fun, their marriage is doomed. There is only one problem: the newlyweds took the test after the wedding. Whether Smith is chasing a cow named Pork Chop through the woods with a rope, getting locked in a tack room by the family pony, being snubbed by his wife’s dog, or unsuccessfully trying to modernize their barn using the latest technology, the odds are stacked against him. It seems like everything with four legs is out to get him. Will the animals win, forcing Smith to admit defeat, or will he fight to keep his family and the farm together? Enjoy the true, warm, and frequently hilarious stories of Smith’s journey along the bumpy road from his urban robotics lab to a new life on a rural Virginia farm.

    A reporter with a beautiful wife and talented son, Richey couldn’t imagine how it could be any better....Then his marriage falls apart and he can’t imagine how it could be any worse.The divorce leaves Richey questioning everything, while struggling to find a way forward. To get his bearings, he enters the first Ultimate Florida Challenge, an all-out twelve-hundred-mile kayak race around Florida.The UFC is less of a race than it is a dare or a threat. The thirty-day deadline sets a grueling, twenty-four-hour-a-day pace through shark- , alligator- , and even python-infested waters. But those twelve hundred miles are only a fraction of a journey that pulls Richey back to when he was embedded with troops in Iraq, reporting on missing children, and hiking the mountains of Montana with his son, and shows him where he went wrong, where he went right, and how to do it better the second time around.Warren Richey’s memoir Without a Paddle is a remarkable physical and emotional journey that cuts to the heart of what it means to be a man, a husband, and a father.

    Living in the port city of Halifax, Goyette’s days are bounded by the substantial fact of the North Atlantic, both by its physical presence and by its metaphoric connotations. And like many of life’s overwhelming facts, our awareness of the ocean’s importance and impact waxes and wanes as the ocean sometimes lurks in the background, sometimes imposes itself upon us, yet always, steadily, is. This collection is not your standard “Oh, Ocean!” versifying. Goyette plunges in and swims well outside the buoys to craft a sort of alternate, apocryphal account of our relationship with the ocean. In these linked poems, Goyette’s offbeat cast of archetypes (fog merchants, lifeguards, poets, carpenters, mothers, daughters) pronounce absurd explanations to both common and uncommon occurrences in a tone that is part cautionary tale, part creation myth and part urban legend: how fog was responsible for marriages, and for in-laws; why running, suburbs and chairs were invented; what happens when you smoke the exhaust from a pride of children pretending to be lions. All the while, the anthropomorphized ocean nibbles hungrily at the shoreline of our understanding,refusing to explain its moods and winning every staring contest. “I wrote these poems,” comments Goyette, “because I know very little about the ocean and yet rely on it like a mirror, a compass.” In Ocean, Goyette demonstrates how a spirited, playful and richly mythopoetic engagement with the world can actually strengthen our grasp on its bigger truths.

    Throughout the year, Goldstein asks weighty questions that would stump a person less seasoned. For example: What is it about a McRib that drives people crazy? Can we replace extending an olive leaf with extending an olive jar? How much wisdom can we glean from episodes of Welcome Back, Kotter? His friends and family, many of them known through their appearances on WireTap, weigh in with hilarious results as Goldstein eats, sleeps, and watches bad TV all the way to his date with destiny.

    Powerless to change their fortunes, they are separated, and each put into different foster homes. Yet over the years, the bond between them grows. As they each make their way in a society that is, at times, indifferent, hostile, and violent, one embraces her Métis identity, while the other tries to leave it behind. In the end, out of tragedy, comes an unexpected legacy of triumph and reclamation.In this Critical Edition, editor Cheryl Suzack has chosen ten critical essays to accompany one of the best-known texts by Canadian Aboriginal author Beatrice Culloden/Mosionier.

    The Horrors is presented abecedarian-style, despoiling a beloved children's book tradition in order to explore personal hangups that range from the slightly awkward to the down-right terrible.Beginning with ‘A’ for ‘Adolescence,’ Demers recalls his sexless teenage years spent in a Trotskyist sect, and ‘B’ for‘Bombing’ offers a first-person account of the agonies of stand- up comedy gone wrong. ‘E’ for ‘End of the World’ exploresthe wacky world of Preppers (YouTube how-to-prepare-for- the-apocalypse experts), while ‘F’ for ‘Fat’ explains what life is like for those with both testicles and breasts. Other essays creep toward the pain side of the hilarity/agony line: ‘D’ for‘Depression’ and ‘M’ for ‘Motherlessness’ traverse topics that more balanced minds might hesitate to make light of.Fortunately, Demers does not let tact or sensibility deter him from pushing humour to its hysterical limit in orderto examine our deepest fears. With artful insight, he never minimizes the very real pain inherent in some topics and uses comedy as a catharsis rather than a numbing agent. Dark, smart and funny, in the sunny world of The Book of Awesome and The Happiness Project, The Horrors will be a shadow...or at least a shadow puppet.

    Much easier than writing books.” And write letters Ed Abbey did. In his famous — or infamous — 45-year career, Abbey’s cards and letters became as legendary as his books for their wit, vitriol, and ability to speak truth to power. Published here for the first time, the letters offer a fascinating, often hilarious glimpse into the mind of one of America’s most iconoclastic and beloved authors. No subject was too banal, too arcane, or too deep for Abbey to expound on: sex, cheerleaders, Mormons, Aspen, and the Bond girls are covered as gleefully as Stegner, Dylan, Chomsky, Buddhism, and betrayal. Whether scolding an editor to simplify (“I’ve had to waste hours erasing that storm of fly-shit on the typescript”) or skewering the chicken-hawk proponents of the war in Vietnam, Abbey’s righteous indignation gives hope and inspiration to a generation that desperately needs both.

     The author who created her was Lucy Maud Montgomery, a writer who revealed very little of herself and her method of crafting a story.  On the centenary of its publication, Irene Gammel tells the braided story of both Anne and Maud and, in so doing, shows how a literary classic was born.  Montgomery’s own life began in the rural Cavendish family farmhouse on Prince Edward Island, the place that became the inspiration for Green Gables.  Mailmen brought the world to the farmhouse’s kitchen door in the form of American mass market periodicals sparking the young Maud’s imagination.  From the vantage point of her small world, Montgomery pored over these magazines, gleaning bits of information about how to dress, how to behave and how a proper young lady should grow.  She began to write, learning how to craft marketable stories from the magazines’ popular fiction; at the same time the fashion photos inspired her visual imagination.  One photo that especially intrigued her was that of a young woman named Evelyn Nesbit, the  model for painters and photographers and lover of Stanford White.  That photo was the spark for what became Anne Shirley.  Blending biography with cultural history, Looking for Anne of Green Gables is a gold mine for fans of the novels and answers a trunk load of questions: Where did Anne get the “e” at the end of her name?  How did Montgomery decide to give her red hair?  How did Montgomery’s courtship and marriage to Reverend Ewan Macdonald affect the story?  Irene Gammel's dual biography of Anne Shirley and the woman who created her will delight the millions who have loved the red haired orphan ever since she took her first step inside the gate of Green Gables farm in Avonlea.

    Few things are as exciting—and potentially life-changing—as discovering an old letter. And while etiquette books still extol the practice, letter writing seems to be disappearing amid a flurry of e-mails, texting, and tweeting. The recent decline in letter writing marks a cultural shift so vast that in the future historians may divide time not between BC and AD but between the eras when people wrote letters and when they did not. So New York Times bestselling author Simon Garfield asks: Can anything be done to revive a practice that has dictated and tracked the progress of civilization for more than five hundred years?In To the Letter, Garfield traces the fascinating history of letter writing from the love letter and the business letter to the chain letter and the letter of recommendation. He provides a tender critique of early letter-writing manuals and analyzes celebrated correspondence from Erasmus to Princess Diana. He also considers the role that letters have played as a literary device from Shakespeare to the epistolary novel, all the rage in the eighteenth century and alive and well today with bestsellers like The Guernsey Literary and Potato Peel Pie Society. At a time when the decline of letter writing appears to be irreversible, Garfield is the perfect candidate to inspire bibliophiles to put pen to paper and create “a form of expression, emotion, and tactile delight we may clasp to our heart.”

    Field resolves to lay the first trans-Atlantic telegraph cable.