The first entry included here is dated 1918 and the last, three weeks before her death in 1941. Between these points of time unfolds the private world??—??the anguish, the triumph, the creative vision??—??of one of the great writers of the twentieth century. “A Writer’s Diary . . . is Virginia Woolf . . . The whole vibrates with the ups and downs of a passionate relationship . . . in the intensities, variations, alarms and excursions, panics and exaltations of her relationship to her art.”??—??New York Times Book ReviewEdited and with a Preface by Leonard Woolf.

    In addition to the Pulitzer Prize he was awarded for his reviews in The Washington Post, he picked up an Edgar from the Mystery Writers of America for his most recent book, On Conan Doyle.Dirda's latest volume collects fifty of his witty and wide-ranging reflections on literary journalism, book collecting, and the writers he loves. Reaching from the classics to the post-moderns, his allusions dance from Samuel Johnson, Ralph Waldo Emerson and M. F. K. Fisher to Marilynne Robinson, Hunter S. Thompson, and David Foster Wallace. Dirda's topics are equally diverse: literary pets, the lost art of cursive writing, book inscriptions, the pleasures of science fiction conventions, author photographs, novelists in old age, Oberlin College, a year in Marseille, writer's block, and much more, not to overlook a few rants about Washington life and American culture. As admirers of his earlier books will expect, there are annotated lists galore—of perfect book titles, great adventure novels, favorite words, essential books about books, and beloved children's classics, as well as a revealing peek at the titles Michael keeps on his own nightstand.

    By delving into vivid memories of her traumatic childhood, confessions of self-doubt in her journals, and heartbreaking letters to and from her mother, she gives evidence to all that made it both unlikely and inevitable that she would become a writer. Through spontaneous storytelling, she shows how a fluid fictional state of mind unleashed near-forgotten memories that became the emotional nucleus of her novels. Tan explores shocking truths uncovered by family memorabilia—the real reason behind an IQ test she took at age six, why her parents lied about their education, mysteries surrounding her maternal grandmother—and, for the first time publicly, writes about her complex relationship with her father, who died when she was fifteen. Supplied with candor and characteristic humor, Where the Past Begins takes readers into the idiosyncratic workings of her writer’s mind, a journey that explores memory, imagination, and truth, with fiction serving as both her divining rod and link to meaning.

    Knowing she would become a hunted woman, Edith tore the yellow star from her clothing and went underground, scavenging for food and searching each night for a safe place to sleep. Her boyfriend, Pepi, proved too terrified to help her, but a Christian friend was not: With the woman's identity papers in hand, Edith fled to Munich. There she met Werner Vetter, a Nazi party member who fell in love with her. And despite her protests and even her eventual confession that she was Jewish, he married her and kept her identity secret.In vivid, wrenching detail, Edith recalls a life of constant, almost paralyzing fear. She tells of German officials who casually questioned the lineage of her parents; of how, when giving birth to her daughter, she refused all painkillers, afraid that in an altered state of mind she might reveal her past; and of how, after her husband was captured by the Russians and sent to Siberia, Edith was bombed out of her house and had to hide in a closet with her daughter while drunken Russians soldiers raped women on the street.Yet despite the risk it posed to her life, Edith Hahn created a remarkable collective record of survival: She saved every set of real and falsified papers, letters she received from her lost love, Pepi, and photographs she managed to take inside labor camps. On exhibit at the Holocaust Museum in Washington, D.C., these hundreds of documents form the fabric of an epic story - complex, troubling, and ultimately triumphant.

    The child of two lawyers, they are staunchly anti-death penalty. But the moment convicted murderer Ricky Langley’s face flashes on the screen as they review old tapes—the moment they hear him speak of his crimes -- they are overcome with the feeling of wanting him to die. Shocked by their reaction, they dig deeper and deeper into the case. Despite their vastly different circumstances, something in his story is unsettlingly, uncannily familiar.Crime, even the darkest and most unsayable acts, can happen to any one of us. As Alex pores over the facts of the murder, they find themself thrust into the complicated narrative of Ricky’s childhood. And by examining the details of Ricky’s case, they are forced to face their own story, to unearth long-buried family secrets, and reckon with a past that colors their view of Ricky's crime.But another surprise awaits: They weren’t the only one who saw their life in Ricky’s.An intellectual and emotional thriller that is also a different kind of murder mystery, THE FACT OF A BODY is a book not only about how the story of one crime was constructed -- but about how we grapple with our own personal histories. Along the way it tackles questions about the nature of forgiveness, and if a single narrative can ever really contain something as definitive as the truth. This groundbreaking, heart-stopping work, ten years in the making, shows how the law is more personal than we would like to believe -- and the truth more complicated, and powerful, than we could ever imagine.

    In each chapter he makes clear the ways in which a particular book has helped to shape how he leads his own life and the ways in which it might help to shape ours. He talks about what brought him to each book - or vice versa; the people in his life he associates each book with; how each has led him to other books; how each is part of his understanding of himself in the world. And he relates each book to a question of our daily lives, for example: Melville's Bartleby, the Scrivener speaks to quitting; 1984 to disconnecting from our electronics; James Baldwin's Giovanni's Room to the power of finding ourselves and connecting with one another; Anne Morrow Lindbergh's Gift from the Sea to taking time to recharge; Anne Lamott's Bird by Bird to being sensitive to the surrounding world; The Little Prince to making friends; Paula Hawkins's The Girl on the Train to trusting. Here, too, are books by Dickens, Daphne du Maurier, Haruki Murakami, Edna Lewis, E. B. White, and Hanya Yanagihara, among many others. A treasure of a book for everyone who loves books, loves reading, and loves to hear the answer to the question: "What are you reading?"

    It would mark the beginning of a long relationship with the country, starting with her coverage of the peaceful uprising and continuing as the situation quickly turned into one of the most brutal, internecine conflicts in recent history. Drawn to the stories of the ordinary people caught up in the conflict, Syria came to consume her every moment, her every emotion.Speaking to those directly involved in the war, di Giovanni relays here the personal stories of rebel fighters thrown in jail at the least provocation; of children and families forced to watch loved ones taken and killed by regime forces with dubious justifications; and the stories of the elite, holding pool parties in Damascus hotels, trying to deny the human consequences of the nearby shelling.Delivered with passion, fearlessness and sensitivity, The Morning They Came For Us is an unflinching account of a nation on the brink of disintegration, charting an apocalyptic but at times tender story of life in a jihadist war – and an unforgettable testament to human resilience in the face of devastating, unimaginable horrors.

    As Professor of Anatomy and Forensic Anthropology, she focuses on mortal remains in her lab, at burial sites, at scenes of violence, murder and criminal dismemberment, and when investigating mass fatalities due to war, accident or natural disaster. In All that Remains she reveals the many faces of death she has come to know, using key cases to explore how forensic science has developed, and what her work has taught her. Do we expect a book about death to be sad? Macabre? Sue’s book is neither. There is tragedy, but there is also humour in stories as gripping as the best crime novel. Our own death will remain a great unknown. But as an expert witness from the final frontier, Sue Black is the wisest, most reassuring, most compelling of guides.

    Mostly illiterate, they were self-made mystics and gifted storytellers and humble peddlers who dwelt in harmony with their Muslim and Christian neighbors in the mountains of northern Iraq. To these descendants of the Lost Tribes of Israel, Yona Sabar was born. Yona's son Ariel grew up in Los Angeles, where Yona had become an esteemed professor, dedicating his career to preserving his people’s traditions. Ariel wanted nothing to do with his father’s strange immigrant heritage—until he had a son of his own.Ariel Sabar brings to life the ancient town of Zakho, discovering his family’s place in the sweeping saga of Middle-Eastern history. This powerful book is an improbable story of tolerance and hope set in what today is the very center of the world’s attention.

    As Farrow drew closer to the truth, shadowy operatives, from high-priced lawyers to elite war-hardened spies, mounted a secret campaign of intimidation, threatening his career, following his every move and weaponizing an account of abuse in his own family.All the while, Farrow and his producer faced a degree of resistance that could not be explained - until now. And a trail of clues revealed corruption and cover-ups from Hollywood, to Washington, and beyond.This is the untold story of the exotic tactics of surveillance and intimidation deployed by wealthy and connected men to threaten journalists, evade accountability and silence victims of abuse - and it's the story of the women who risked everything to expose the truth and spark a global movement.Both a spy thriller and a meticulous work of investigative journalism, Catch and Kill breaks devastating new stories about the rampant abuse of power - and sheds far-reaching light on investigations that shook the culture.In a dramatic account of violence and espionage, Pulitzer Prize-winning investigative reporter Ronan Farrow exposes serial abusers and a cabal of powerful interests hell-bent on covering up the truth, at any cost.

    Drawn to the natural world, for years she worked as a ranger in National Parks, at times living in her run-down car (which lacked a reverse gear), on abandoned construction sites, or camping on a piece of land in Montana she bought from a colleague. She managed to put herself through college and then graduate school, eventually earning a Ph.D. in biology.Yet she never felt at home with people, and though she worked at various universities and taught field classes in the National Parks, she built a house on a remote plot of land in Montana and, except when teaching, spoke to no one. One day, she realized that the fox who had been appearing at her house was coming by every day at 4:15. He became a regular visitor, who eventually sat near her as she read to him from The Little Prince or Dr. Seuss. Her scientific training had taught her not to anthropomorphize animals, but as she grew to know him, his personality revealed itself—and he became her friend. But friends cannot always save each other from the uncontained forces of nature.Though this is a story of survival, it is also a poignant and dramatic tale of living in the wilderness and coping with inevitable loss. This uplifting fable-like true story about the friendship of a woman and a wild fox not only reveals the power of friendship and our interconnectedness with the natural world but is an original, imaginative, and beautiful work that introduces a stunning new voice.

    The popular image of the Regency continues to be mythologized by the hundreds of romance novels set in the period, which focus almost exclusively on wealthy, white, Christian members of the upper classes.But there are hundreds of fascinating women who don't fit history books limited perception of what was historically accurate for early 19th century England. Women like Dido Elizabeth Belle, whose mother was a slave but was raised by her white father's family in England, Caroline Herschel, who acted as her brother's assistant as he hunted the heavens for comets, and ended up discovering eight on her own, Anne Lister, who lived on her own terms with her common-law wife at Shibden Hall, and Judith Montefiore, a Jewish woman who wrote the first English language Kosher cookbook.As one of the owners of the successful romance-only bookstore The Ripped Bodice, Bea Koch has had a front row seat to controversies surrounding what is accepted as "historically accurate" for the wildly popular Regency period. Following in the popular footsteps of books like Ann Shen's Bad Girls Throughout History, Koch takes the Regency, one of the most loved and idealized historical time periods and a huge inspiration for American pop culture, and reveals the independent-minded, standard-breaking real historical women who lived life on their terms. She also examines broader questions of culture in chapters that focus on the LGBTQ and Jewish communities, the lives of women of color in the Regency, and women who broke barriers in fields like astronomy and paleontology. In Mad and Bad, we look beyond popular perception of the Regency into the even more vibrant, diverse, and fascinating historical truth.

    It is a slave narrative of a black man who was born free in New York state but kidnapped in Washington, D.C., sold into slavery, and kept in bondage for 12 years in Louisiana. He provided details of slave markets in Washington, D.C. and New Orleans, as well as describing at length cotton and sugar cultivation on major plantations in Louisiana.

    Here, a young graduate student from Rome, Francesca Cappelletti, makes a discovery that inspires a search for a work of art of incalculable value, a painting lost for almost two centuries.The artist was Caravaggio, a master of the Italian Baroque. He was a genius, a revolutionary painter, and a man beset by personal demons. Four hundred years ago, he drank and brawled in the taverns and streets of Rome, moving from one rooming house to another, constantly in and out of jail, all the while painting works of transcendent emotional and visual power. He rose from obscurity to fame and wealth, but success didn't alter his violent temperament. His rage finally led him to commit murder, forcing him to flee Rome a hunted man. He died young, alone, and under strange circumstances.Caravaggio scholars estimate that between sixty and eighty of his works are in existence today. Many others -- no one knows the precise number -- have been lost to time. Somewhere, surely, a masterpiece lies forgotten in a storeroom, or in a small parish church, or hanging above a fireplace, mistaken for a mere copy.Jonathan Harr embarks on a journey to discover the long-lost painting known as The Taking of Christ -- its mysterious fate and the circumstances of its disappearance have captivated Caravaggio devotees for years. After Francesca Cappelletti stumbles across a clue in that dusty archive, she tracks the painting across a continent and hundreds of years of history. But it is not until she meets Sergio Benedetti, an art restorer working in Ireland, that she finally manages to assemble all the pieces of the puzzle.

    Once a dirty word brushed away with a grimace, "feminist" has been rebranded as a shiny label sported by movie and pop stars, fashion designers, and multi-hyphenate powerhouses like Beyoncé It drives advertising and marketing campaigns for everything from wireless plans to underwear to perfume, presenting what's long been a movement for social justice as just another consumer choice in a vast market. Individual self-actualization is the goal, shopping more often than not the means, and celebrities the mouthpieces. But what does it mean when social change becomes a brand identity? Feminism's splashy arrival at the center of today's media and pop-culture marketplace, after all, hasn't offered solutions to the movement's unfinished business. Planned Parenthood is under sustained attack, women are still paid 77 percent -- or less -- of the man's dollar, and vicious attacks on women, both on- and offline, are utterly routine. Andi Zeisler, a founding editor of Bitch Media, draws on more than twenty years' experience interpreting popular culture in this biting history of how feminism has been co-opted, watered down, and turned into a gyratory media trend. Surveying movies, television, advertising, fashion, and more, Zeisler reveals a media landscape brimming with the language of empowerment, but offering little in the way of transformational change. Witty, fearless, and unflinching, We Were Feminists Once is the story of how we let this happen, and how we can amplify feminism's real purpose and power.