Yet The Origin of Species (1859) is also a humane and inspirational vision of ecological interrelatedness, revealing the complex mutual interdependencies between animal and plant life, climate and physical environment, and—by implication—within the human world. Written for the general reader, in a style which combines the rigour of science with the subtlety of literature, The Origin of Species remains one of the founding documents of the modern age.

    A scathingly funny reinterpretation of the Ten Commandments from the larger, louder half of world-famous magic duo Penn and Teller reveals an atheist's experience in the world: from performing on the Vegas strip with Siegfried and Roy to children and fatherhood to his ongoing dialogue with proselytizers of the Christian Right and the joys of sex while scuba-diving, Penn has an outrageous sense of humor and a brilliantly entertaining opinion on, well, anything you care to think of.

    She conjures up early operating theaters--no place for the squeamish--and surgeons, working before anesthesia, who were lauded for their speed and brute strength. These medical pioneers knew that the aftermath of surgery was often more dangerous than their patients' afflictions, and they were baffled by the persistent infections that kept mortality rates stubbornly high. At a time when surgery couldn't have been more hazardous, an unlikely figure stepped forward: a young, melancholy Quaker surgeon named Joseph Lister, who would solve the deadly riddle and change the course of history.Fitzharris dramatically recounts Lister's discoveries in gripping detail, culminating in his audacious claim that germs were the source of all infection--and could be countered by antiseptics. Focusing on the tumultuous period from 1850 to 1875, she introduces us to Lister and his contemporaries--some of them brilliant, some outright criminal--and takes us through the grimy medical schools and dreary hospitals where they learned their art, the deadhouses where they studied anatomy, and the graveyards they occasionally ransacked for cadavers.Eerie and illuminating, The Butchering Art celebrates the triumph of a visionary surgeon whose quest to unite science and medicine delivered us into the modern world.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    That they exist, Simon Singh reveals, underscores the brilliance of the shows' writers, many of whom have advanced degrees in mathematics in addition to their unparalleled sense of humor. While recounting memorable episodes such as “Bart the Genius” and “Homer3,” Singh weaves in mathematical stories that explore everything from p to Mersenne primes, Euler's equation to the unsolved riddle of P v. NP; from perfect numbers to narcissistic numbers, infinity to even bigger infinities, and much more. Along the way, Singh meets members of The Simpsons' brilliant writing team-among them David X. Cohen, Al Jean, Jeff Westbrook, and Mike Reiss-whose love of arcane mathematics becomes clear as they reveal the stories behind the episodes. With wit and clarity, displaying a true fan's zeal, and replete with images from the shows, photographs of the writers, and diagrams and proofs, The Simpsons and Their Mathematical Secrets offers an entirely new insight into the most successful show in television history.

    Scott Fitzgerald, Ernest Hemingway, Tennessee Williams, John Berryman, John Cheever, and Raymond Carver. All six of these writers were alcoholics, and the subject of drinking surfaces in some of their finest work, from Cat on a Hot Tin Roof to A Moveable Feast. Often they did their drinking together—Hemingway and Fitzgerald ricocheting through the cafés of 1920s Paris; Carver and Cheever speeding to the liquor store in Iowa in the icy winter of 1973.Olivia Laing grew up in an alcoholic family herself. One spring, wanting to make sense of this ferocious, entangling disease, she took a journey across America that plunged her into the heart of these overlapping lives. As she travels from Cheever's New York to Williams' New Orleans, from Hemingway's Key West to Carver's Port Angeles, she pieces together a topographical map of alcoholism, from the horrors of addiction to the miraculous possibilities of recovery. Beautiful, captivating and original, The Trip to Echo Spring strips away the myth of the alcoholic writer to reveal the terrible price creativity can exert.

    In What We Don't Talk About When We Talk About Fat, Aubrey Gordon unearths the cultural attitudes and social systems that have led to people being denied basic needs because they are fat and calls for social justice movements to be inclusive of plus-sized people's experiences. Unlike the recent wave of memoirs and quasi self-help books that encourage readers to love and accept themselves, Gordon pushes the discussion further towards authentic fat activism, which includes ending legal weight discrimination, giving equal access to health care for large people, increased access to public spaces, and ending anti-fat violence. As she argues, I did not come to body positivity for self-esteem. I came to it for social justice.By sharing her experiences as well as those of others--from smaller fat to very fat people--she concludes that to be fat in our society is to be seen as an undeniable failure, unlovable, unforgivable, and morally condemnable. Fatness is an open invitation for others to express disgust, fear, and insidious concern. To be fat is to be denied humanity and empathy. Studies show that fat survivors of sexual assault are less likely to be believed and less likely than their thin counterparts to report various crimes; 27% of very fat women and 13% of very fat men attempt suicide; over 50% of doctors describe their fat patients as awkward, unattractive, ugly and noncompliant; and in 48 states, it's legal--even routine--to deny employment because of an applicant's size.Advancing fat justice and changing prejudicial structures and attitudes will require work from all people. What We Don't Talk About When We Talk About Fat is a crucial tool to create a tectonic shift in the way we see, talk about, and treat our bodies, fat and thin alike.

    So off she sets on a darkly comic foray into the world of death fraud, where for $30,000 a consultant can make you disappear--but your suspicious insurance company might hire a private detective to dig up your coffin...only to find it filled with rocks.Greenwood tracks down a British man who staged a kayaking accident and then returned to live in his own house while all his neighbors thought he was dead. She takes a call from Michael Jackson (no, he's not dead--or so her new acquaintances would have her believe), stalks message boards for people contemplating pseudocide, and gathers intel on black market morgues in the Philippines, where she may or may not obtain some fraudulent goodies of her own. Along the way, she learns that love is a much less common motive than money, and that making your death look like a drowning virtually guarantees that you'll be caught. (Disappearing while hiking, however, is a way great to go.)Playing Dead is a charmingly bizarre investigation in the vein of Jon Ronson and Mary Roach into our all-too-human desire to escape from the lives we lead, and the men and women desperate enough to give up their lives--and their families--to start again.

    Avoid Grammatical Minefields with this Entertaining GuideConfused about when to use "its" or "it's" or the correct spelling of "principal" and "principle"? My Grammar and I...or Should That Be me? is a refresher course for anyone who has ever been stumped by spelling confusion, dangling modifiers, split infinities, or for those who have no idea what these things even are.Clever, informative, and fun, this delightful little handbook offers practical and humorous guidance on how to avoid falling into language pitfalls.* Sentence Structure: Let's ponder the subject or object: Is it "I" or is it "me"?* Parts of Speech: "whose" or "who's"? "which" or "that"?* Punctuation: So where does that comma go, anyway?* Spelling and Confusables: There are times when the spelling "rules" confuse.* Elements of Style: You'll find there's lots more to know about grammar.* ...and for grammar know-it-alls, there are entertaining "Smart Aleck" tidbits throughout.

    Growing up she was rarely seen without her nose in a book and read in secret long after lights out. When tragedy struck, books kept her afloat. Eventually they lit the way to a new path, first as a bookseller and then as a writer. No matter what the future holds, reading will always help.Dear Reader is a moving, funny and joyous exploration of how books can change the course of your life, packed with recommendations from one reader to another.

    Well, maybe there are harder things in life…but being an adult is difficult! So Grace Helbig has written a guide that’s perfect for anyone who is faced with the daunting task of becoming an adult.Infused with her trademark saucy, sweet, and funny voice, Grace’s Guide is a tongue-in-cheek handbook for millennials, encompassing everything a young or new (or regular or old) adult needs to know, from surviving a breakup to recovering from a hangover. Beautifully illustrated and full-color, Grace’s Guide features interactive elements and exclusive stories from Grace’s own misadventures—like losing her virginity solely because her date took her to a Macaroni Grill—and many other hilarious lessons she learned the hard way.Amusing and unexpectedly educational, this refreshing and colorful guide proves that becoming an adult doesn’t necessarily mean you have to grow up.

    It's a book that has remained current for over half a century, fighting off critics and changing tastes in fiction. But do even its biggest fans know all there is to appreciate about The Great Gatsby?Maureen Corrigan, the book critic for "Fresh Air" and a Gatsby lover extraordinaire, points out that while Gatsby may be the novel most Americans have read, it's also the ones most of us read too soon -- when we were "too young, too defensive emotionally, too ignorant about the life-deforming powers of regret" to really understand all that Fitzgerald was saying ("it's not the green light, stupid, it's Gatsby's reaching for it," as she puts it). No matter when or how recently you've read the novel, Corrigan offers a fresh perspective on what makes it so enduringly relevant and powerful. Drawing on her experience as a reader, lecturer, and critic, her book will be a rousing consideration of Gatsby: not just its literary achievements, but also its path to "classic" (its initial lukewarm reception has been a form of cold comfort to struggling novelists for decades), its under-acknowledged debt to hard-boiled crime fiction, its commentaries on race, class, and gender.With rigor, wit, and an evangelistic persuasiveness, Corrigan will leave readers inspired to grab their old paperback copies of Gatsby and re-experience this great novel in an entirely new light.

    It is an ugly, shameful story of being sold with her mother into slave marriages by Chinese brokers, and although she at first tried to hide the painful details when blending into South Korean society, she realized how her survival story could inspire others. Moreover, her sister had also escaped earlier and had vanished into China for years, prompting the author to go public with her story in the hope of finding her sister.

    The brilliant and uproarious #15 bestseller (i.e., a runaway phenomenon in its own right-no, seriously) - a lavish compendium of handy reference tables, fascinating trivia, and sage wisdom - all of it completely unresearched, completely undocumented and (presumably) completely untrue, fabricated by the illuminating, prodigious imagination of John Hodgman, certifiable genius.

    A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else.Is this Shakespeare? Well, sort of.But it doesn't tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. Now, Emma Smith - an intellectually, theatrically, and ethically exciting writer - takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd, the Spielberg and Tarantino of their day; flirting with and skirting round the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex, and the Shakespeare she reveals in this book poses awkward questions rather than offering bland answers, always implicating us in working out what it might mean.