Here, in brief essays, she traces a tender and honest portrait of her complicated parents--her exuberant, creative mother; her steady, supportive father--and of the bittersweet moments that accompany a child's transition to caregiver.And here, braided into the overall narrative, Renkl offers observations on the world surrounding her suburban Nashville home. Ringing with rapture and heartache, these essays convey the dignity of bluebirds and rat snakes, monarch butterflies and native bees. As these two threads haunt and harmonize with each other, Renkl suggests that there is astonishment to be found in common things: in what seems ordinary, in what we all share. For in both worlds--the natural one and our own--"the shadow side of love is always loss, and grief is only love's own twin."Illustrated by the author's brother, Billy Renkl, Late Migrations is an assured and memorable debut.

    With the same intelligence and insouciant charm he brought to How Proust Can Save Your Life, de Botton considers the pleasures of anticipation; the allure of the exotic, and the value of noticing everything from a seascape in Barbados to the takeoffs at Heathrow. Even as de Botton takes the reader along on his own peregrinations, he also cites such distinguished fellow-travelers as Baudelaire, Wordsworth, Van Gogh, the biologist Alexander von Humboldt, and the 18th-century eccentric Xavier de Maistre, who catalogued the wonders of his bedroom. The Art of Travel is a wise and utterly original book. Don’t leave home without it.

    Essays. 1989 Before Columbus Foundation American Book Award.

    The older artist, Rainer Maria Rilke (1875–1926), replied to the novice in this series of letters—an amazing archive of remarkable insights into the ideas behind Rilke's greatest poetry. The ten letters reproduced here were written during an important stage in Rilke's artistic development, and they contain many of the themes that later appeared in his best works. The poet himself afterwards stated that his letters contained part of his creative genius, making this volume essential reading for scholars, poetry lovers, and anyone with an interest in Rilke, German poetry, or the creative impulse.

    Ever since Oprah Winfrey told the 2007 graduating class of Howard University, “Don’t be afraid,” Michael Arceneaux has been scared to death. You should never do the opposite of what Oprah instructs you to do, but when you don’t have her pocket change, how can you not be terrified of the consequences of pursuing your dreams? Arceneaux has never shied away from discussing his struggles with debt, but in I Don’t Want to Die Poor, he reveals the extent to which it has an impact on every facet of his life—how he dates; how he seeks medical care (or in some cases, is unable to); how he wrestles with the question of whether or not he should have chosen a more financially secure path; and finally, how he has dealt with his “dream” turning into an ongoing nightmare as he realizes one bad decision could unravel all that he’s earned. You know, actual “economic anxiety.” I Don’t Want to Die Poor is an unforgettable and relatable examination about what it’s like leading a life that often feels out of your control.

    Tackling subjects like addiction, fertility, feminism and sexual violence, and where these subjects intersect with legislation, these beautifully written essays are at once fascinating and funny, intimate and searingly honest. Honest, raw, brave and new, Notes to Self breaks new ground in the field of personal essays.

    It saves lives, manipulates lives, and prioritizes some lives over others. It provides comfort, makes profits, justifies violence, and promises resolution to body-mind loss. Clare grapples with this knot of contradictions, maintaining that neither an anti-cure politics nor a pro-cure worldview can account for the messy, complex relationships we have with our body-minds.The stories he tells range widely, stretching from disability stereotypes to weight loss surgery, gender transition to skin lightening creams. At each turn, Clare weaves race, disability, sexuality, class, and gender together, insisting on the nonnegotiable value of body-mind difference. Into this mix, he adds environmental politics, thinking about ecosystem loss and restoration as a way of delving more deeply into cure.Ultimately Brilliant Imperfection reveals cure to be an ideology grounded in the twin notions of normal and natural, slippery and powerful, necessary and damaging all at the same time.

    As a young girl, she was the victim of a horrifying act of violence that changed her life and would strongly influence her career as a writer. In her 2017 memoir Hunger, she addressed that trauma head-on, writing with bracing honesty about her body and the ways that food can be used both to bury pain and make oneself disappear. The response to Hunger by some critics who seemed to take perverse pleasure in highlighting Gay’s vulnerabilities was itself a fresh wound. By exploring trauma publicly, Gay suffered more of it.In her Scribd Original Writing into the Wound, Gay not only talks openly about trauma in her personal life—from her fraught time as an undergraduate at Yale to the stress of returning there as a visiting professor to the fallout from Hunger—but also about the collective trauma we’ve experienced this past year. COVID-19, racial and economic inequality, political strife, imminent environmental disaster, and more: Gay catalogs it all with her trademark candor and authority. To make sense of our pain, she suggests, we need to explore it fully, even as we’re still in the midst of it. Just as she writes her way through her own traumas and coaches her students to do the same, she urges us to take a long, hard look at the wounds we all share: “The world as we knew it has broken wide open. There is a before and an after, and the world will never again be what it once was. That sounds terrifying, but it is an opportunity.”“To change the world, we need to face what has become of it,” she writes. “To heal from a trauma, we need to understand the extent of it.” Full of wisdom and rage and grace, Writing into the Wound is a remarkable consideration of where we are, and where we need to go, by one of the finest authors and cultural critics of her generation.

    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.

    It is both an experiment in the attentive form of the essay - asking what happens, and where one might wander, when as readers and writers we pay minute attention to the language before us - and a polemic for certain kinds of experiment in prose. In a series of essays, each taking a single sentence as its starting point, the book explores style, voice and context. But it also uses its subjects - from George Eliot to Joan Didion, John Donne to Annie Dillard - to ask what the sentence is today and what it might become next.

    New York Times bestselling author of Texts from Jane Eyre Daniel M. Lavery publishing as Daniel Mallory Ortberg has mastered the art of “poetic yelling,” a genre surely familiar to fans of his cult-favorite website The Toast.In this irreverent essay collection, Ortberg expands on this concept with in-depth and hilarious studies of all things pop culture, from the high to low brow. From a thoughtful analysis on the beauty of William Shatner to a sinister reimagining of HGTV’s House Hunters, Something That May Shock and Discredit You is a laugh-out-loud funny and whip-smart collection for those who don’t take anything—including themselves—much too seriously.

    None of this felt right; and as she got older, she longed for more stories that allowed disability to be complex and ordinary, uncomfortable and fine, painful and fulfilling.Writing about the rhythms and textures of what it means to live in a body that doesn’t fit, Rebekah reflects on everything from the complications of kindness and charity, living both independently and dependently, experiencing intimacy, and how the pervasiveness of ableism in our everyday media directly translates to everyday life.Disability affects all of us, directly or indirectly, at one point or another. By exploring this truth in poignant and lyrical essays, Taussig illustrates the need for more stories and more voices to understand the diversity of humanity. Sitting Pretty challenges us as a society to be patient and vigilant, practical and imaginative, kind and relentless, as we set to work to write an entirely different story.

    She received a World Fantasy Award for Lifetime Achievement in 2007, as well as two Mythopoeic Awards and the Guardian Fiction Award for Charmed Life. But she was also a witty, entertaining speaker, a popular guest at science fiction and fantasy conventions and an engaged, scholarly critic of writing that interested her.This collection of more than twenty-five papers, chosen by Diana herself, includes fascinating literary criticism (such as a study of narrative structure in The Lord of the Rings and a ringing endorsement of the value of learning Anglo Saxon) alongside autobiographical anecdotes about reading tours (including an account of her famous travel jinx), revelations about the origins of her books, and thoughts in general about the life of an author and the value of writing. The longest autobiographical piece, 'Something About the Author', details Diana's extraordinary childhood and is illustrated with family photographs. Reflections is essential reading for anyone interested in Diana's works, fantasy or creative writing.The collection features a foreword by Neil Gaiman and an introduction and interview by Charlie Butler, a respected expert on fantasy writing.

    In a series of candid, vulnerable, and wise essays that takes a closer look at what it means to love someone, be loved, and how we present our love to the world, Catron deconstructs her own personal canon of love stories. She delves all the way back to 1944, when her grandparents first met in a coal mining town in Appalachia, to her own dating life as a professor in Vancouver, drawing insights from her fascinating research into the universal psychology, biology, history, and literature of love. She uses biologists’ research into dopamine triggers to ask whether the need to love is an innate human drive. She uses literary theory to show why we prefer certain kinds of love stories. She urges us to question the unwritten scripts we follow in relationships and looks into where those scripts come from in the first place. And she tells the story of how she decided to test a psychology experiment that she’d read about—where the goal was to create intimacy between strangers using a list of thirty-six questions—and ended up in the surreal situation of having millions of people following her brand-new relationship. In How to Fall in Love with Anyone Catron flips the script on love and offers a deeply personal, and universal, investigation.

    It explores the use of art to survive abuse, incest, madness and depression, and the often deep-seated impulse toward self-destruction including cutting, eating disorders, and addiction. Here, some of our most compelling cartoonists, novelists, poets, dancers, playwrights, and burlesque performers traverse the pains and passions that can both motivate and destroy women artists, and mark a path for survival. Taken together, these artful reflections offer an honest and hopeful journey through a woman's silent rage, through the power inherent in struggles with destruction, and the ensuing possibilities of transforming that burning force into the external release of art. With contributions by Nan Goldin, bell hooks, Patricia Smith, Cristy C. Road, Carol Queen, Annie Sprinkle, Elizabeth Stephens, Carolyn Gage, Eileen Myles, Fly, Diane DiMassa, Bonfire Madigan Shive, Inga Muscio, Kate Bornstein, Toni Blackman, Nicole Blackman, Silas Howard, Daphne Gottleib, and Stephanie Howell.