There are 366 poems (one for each day of the year, and one for leap years), to delight, inspire and excite. Chosen for their magic and memorability, the poems in this anthology are an exultant mix of old and new from across the world, poems to learn by heart and take to heart.

    n+1 appeared in the fall of 2004, the brainchild of a group of writers working out of a small apartment. Intended to revive the leftist social criticism and innovative literary analysis that was the hallmark of the Partisan Review and other midcentury magazines, n+1 was a rejoinder to the consumerism and complacency of the Bush years. It hasn't slowed down since. n+1 has given us the most clear-eyed reporting on the 2008 crash and the Occupy movement, the best criticism of publishing culture, and the first sociological report on the hipster. No media, new or old, has escaped its ire as n+1's outspoken contributors have taken on reality TV, Twitter, credentialism, drone strikes, and Internet porn.Happiness, released on the occasion of n+1's tenth anniversary, collects the best of the magazine as selected by its editors. These essays are fiercely contentious, disconcertingly astute, and screamingly funny. They explore our modern pursuits of happiness and take a searching moral inventory of the strange times we live in. Founding lights Chad Harbach, Keith Gessen, Benjamin Kunkel, Marco Roth, and Mark Greif are featured alongside Elif Batuman, Rebecca Curtis, Emily Witt, and other young talents launched by n+1. This n+1 anthology is the definitive work of the definitive twenty-first century intellectual magazine.

    Oxford Street is a sea of long hair and flared jeans; prog rock prevails. But Ron Watts, the 100 Club’s “rock night” manager, has witnessed the impromptu and chaotic gigs at High Wycombe College of Art. He invites the Sex Pistols to start a residency in central London, and over the next eighteen months, everything changes.            Unlike many writers, Phil Strongman was actually at the 100 Club punk festival in September 1976 and witnessed punk’s violent and dramatic rise. After tracing its underground roots in New York and Detroit, Strongman shows how the Sex Pistols and the Clash, along with their confreres, took rock ’n’ roll closer to the edge than any band before them. But after the outrage over the Pistols’ legendary outburst on Bill Grundy’s TV show catapulted the band into the center of a press feeding frenzy, it was swiftly eclipsed by the blossoming of a new movement in time for the Queen’s Silver Jubilee. Punk had traveled from the underground to the mainstream in the space of six months.            Based on new interviews with Malcolm McLaren, Jah Wobble, Glen Matlock, Roadent, and many more, Strongman vividly re-creates the punk eruption and charts its spread across Britain and to the West Coast of the United States. Thirty years after its inception, UK punk has found its definitive account in Pretty Vacant.

    They call on the fluidity of the imagination, from poetic vision to social justice, from the badlands of political demoralization to an art that might wound, that may open scars when engaged in its work, but will finally suture and not tear apart.This volume collects Rich's essays from the last decade of the twentieth century, including four earlier essays, as well as several conversations that go further than the usual interview. Also included is her essay explaining her reasons for declining the National Medal for the Arts.

    As they carve out lives as Americans, their days are filled with drama, success, and sometimes tragedy. A widow becomes crazy after her son is killed in Vietnam, her remaining word "nada." Another woman carries on after the death of her husband, keeping their store, filled with plantain, Bustello coffee, jamon y queso, open as a refuge for her neighbors. And there are Cofer's stories of growing up with a dictatorial and straying father, a caring mother, and a love for language that will lead to a career as a teacher and writer.

    For more than forty years, Hitchens delivered to numerous publications on both sides of the Atlantic essays that were astonishingly wide-ranging and provocative. The judges for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay, posthumously bestowed on Hitchens, praised him for the way he wrote “with fervor about the books and writers he loved and with unbridled venom about ideas and political figures he loathed.” He could write, the judges went on to say, with “undisguised brio, mining the resources of the language as if alert to every possibility of color and inflection.” He was, as Benjamin Schwarz, his editor at The Atlantic magazine, recalled, “slashing and lively, biting and funny—and with a nuanced sensibility and a refined ear that he kept in tune with his encyclopedic knowledge and near photographic memory of English poetry.” And as Michael Dirda, writing in the Times Literary Supplement, observed, Hitchens “was a flail and a scourge, but also a gift to readers everywhere.”The author of five previous volumes of selected writings, including the international bestseller Arguably, Hitchens left at his death nearly 250,000 words of essays not yet published in book form. And Yet… assembles a selection that usefully adds to Hitchens’s oeuvre. It ranges from the literary to the political and is, by turns, a banquet of entertaining and instructive delights, including essays on Orwell, Lermontov, Chesterton, Fleming, Naipaul, Rushdie, Pamuk, and Dickens, among others, as well as his laugh-out-loud self-mocking “makeover.” The range and quality of Hitchens’s essays transcend the particular occasions for which they were originally written. Often prescient, always pugnacious, and formidably learned, Hitchens was a polemicist for the ages. With this posthumous volume, his reputation and his readers will continue to grow.Christopher Hitchens was the cartographer of his own literary and political explorations. He sought assiduously to affirm—and to reaffirm—the ideas of secularism, reason, libertarianism, internationalism, and solidarity, values always under siege and ever in need of defending. Henry James once remarked, “Nothing is my last word on anything.” For Hitchens, as for James, there was always more to be said.

    Whatever Happened to Pudding Pops? takes you back in time to the tastes, smells, and sounds of childhood in the '70s and '80s, when the Mystery Date board game didn't seem sexist, and exploding Pop Rocks was the epitome of candy science. But what happened to the toys, tastes, and trends of our youth? Some vanished totally, like Freakies cereal. Some stayed around, but faded from the spotlight, like Sea-Monkeys and Shrinky Dinks. Some were yanked from the market, revised, and reintroduced...but you'll have to read the book to find out which ones. So flip up the collar of that polo shirt and revisit with us the glory and the shame of those goofy decades only a native could love.

    In Why We Need Love, Simon Van Booy curates an enlightening collection of excerpts, passages, and paintings, presenting works by Geoffrey Chaucer, William Shakespeare, John Donne, William Blake, George Eliot, Emily Dickinson, O. Henry, W. B. Yeats, James Joyce, E. E. Cummings, Anaïs Nin, Marc Chagall, J. Krishnamurti, and others.Provocative and eye-opening, Why We Need Love is one of three slim selections of philosophical texts and excerpts—along with Why We Fight and Why Our Decisions Don’t Matter—introduced and contextualized by acclaimed author Simon Van Booy (Love Begins in Winter, The Secret Lives of People in Love).

    The volume also includes extracts and translations by the author from Babylonian, Coptic and Biblical texts alongside poems and fairy tales.The book’s cover features artwork by David and design by Ania Goszczyńska; the frontispiece also reproduces a painting by David.

    Collected here for the first time in paperback, the essays, articles, observations—and even some untypical country-music lyrics—offer a rare overview of the eclectic sensibility of an American original. Whether rocking with the Doors, depoliticizing Picasso’s Guernica, lamenting the angst-ridden state of contemporary literature, or drooling over tomato sandwiches and a species of womanhood he calls “the genius waitress,” Tom Robbins’s briefer writings exhibit the five traits that perhaps best characterize his novels: an imaginative wit, a cheerfully brash disregard for convention, a sweetly nasty eroticism, a mystical but keenly observant eye, and an irrepressible love of language. Embedded in this primarily journalistic compilation are brand-new short stories, a sheaf of largely unpublished poems, and an offbeat assessment of our divided nation. Wherever you open Wild Ducks Flying Backward, you’ll encounter the serious playfulness that percolates from the mind of a self-described “romantic Zen hedonist” and “stray dog in the banquet halls of culture.”

    Spanning his 50-year career and incorporating a rich and varied range of material, this second anthology is as wonderfully unmissable as the first. When Spike Milligan died in 2002, he left behind one of the most diverse legacies in British entertainment history – as well as a legion of devoted fans and admirers. His themes ranged from environmental issues to the war, from nostalgia to depression, and his prolific output covers some of the most evocative events of the twentieth century, in a style both twistedly comic and harrowingly honest.The huge success of the Spike Milligan anthology, ‘The Essential Spike Milligan’, has inspired a second raid on the original brilliant source. Milligan was arguably the most one of the prolific and mould-breaking comic writers of the twentieth century and this second anthology gives another opportunity to sample his finest writing. It includes more of the best from his war memoirs and novel Puckoon, his children's stories, poetry and drawings plus a wonderful collection from his voluminous correspondence from the 1960s onwards with such varied recipients as the House of Commons, the Director-General of the BBC, Private Eye and British Telecom. A compulsive read for all Milligan fans.

    B is known for her amazing ability to make readers feel like they are walking beside her with every page that they turn, and this book, the follow up to the notorious "Letters To My Ex," is another testament to that. Fresh out of an intense break-up, and with her three closest friends by her side, Cici brings you with her as she learns what it means to take back control of her life, and to be her own woman. Completely raw and unfiltered, as always, she doesn't hold back. This is a story for the modern day grown woman. It will make you smile, laugh out loud, hold your breath, bite your bottom lip, and most importantly... Blush.

    

    Mohi symbolises ""the hurting"" and Kabir is all about ""the healing"" that comes after it. A book written and illustrated by author,which is for everyone. for those who believe in love and compassion and for those who don't. Those who have healed and those who are still in process. Those who aren't able to move on and those who have successfully done it. It is for feminists, the activists, the believers, the gender norm shatterers.It is a gift, a book on its journey to make difference in it's reader's life.

    But Vinia is tragically already married to Dryden's employer, Joe, manager of the Black Prince coal pit. Joe's jealousy over the growing connection between his wife and Dryden, sends Dryden into the arms of the beautiful and fiery Roberta Grant. But can Dryden ever truly forget Vinia?