Until one day they all flood back in horrible detail.When television producers approached Alan Cumming to appear on a popular celebrity genealogy show, he hoped to solve the mystery of his maternal grandfather's disappearance that had long cast a shadow over his family. But this was not the only mystery laid before Alan.Alan grew up in the grip of a man who held his family hostage, someone who meted out violence with a frightening ease, who waged a silent war with himself that sometimes spilled over onto everyone around him. That man was Alex Cumming, Alan's father, whom Alan had not seen or spoken to for more than a decade when he reconnected just before filming for Who Do You Think You Are? began. He had a secret he had to share, one that would shock his son to his very core and set into motion a journey that would change Alan's life forever.With ribald humor, wit, and incredible insight, Alan seamlessly moves back and forth in time, integrating stories from his childhood in Scotland and his experiences today as the celebrated actor of film, television, and stage. At times suspenseful, at times deeply moving, but always incredibly brave and honest, Not My Father's Son is a powerful story of embracing the best aspects of the past and triumphantly pushing the darkness aside.

    Long past the years of diapers, homework, and recitals, Roger and Ginny-Boppo and Mimi to the kids-quickly reaccustomed themselves to the world of small children: bedtime stories, talking toys, playdates, nonstop questions, and nonsequential thought. Though still reeling from Amy's death, they carried on, reconstructing a family, sustaining one another, and guiding three lively, alert, and tenderhearted children through the pains and confusions of grief. As he marveled at the strength of his son-in-law, a surgeon, and the tenacity and skill of his wife, a former kindergarten teacher, Roger attended each day to 'the one household duty I have mastered'-preparing the morning toast perfectly to each child's liking. With the wit, heart, precision, and depth of understanding that has characterized his work, Roger Rosenblatt peels back the layers on this most personal of losses to create both a tribute to his late daughter and a testament to familial love. The day Amy died, Harris told Ginny and Roger, "It's impossible". Roger's story tells how a family makes the possible of the impossible.

    He also examines the life and legacy of his cousin, Lucy Partington, who was abducted and murdered by one of Britain’s most notorious serial killers. Experience also deconstructs the changing literary scene, including Amis' portraits of Saul Bellow, Salman Rushdie, Allan Bloom, Philip Larkin, and Robert Graves, among others.

    We meet in cities where we've never been before. We meet where no one will recognize us. A "man of God" is how someone described my father to me. I don 't remember who. Not my mother. I'm young enough that I take the words to mean he has magical properties and that he is good, better than other people. With his hand under my chin, my father draws my face toward his own. He touches his lips to mine. I stiffen. I am frightened by the kiss. I know it wrong, and its wrongness is what lets me know, too, that it is a secret.

    Surrounded by men and women whose skills–as doctors, nurses, and therapists–seemed eminently more practical than her own, Rodriguez, a hairdresser and mother of two from Michigan, despaired of being of any real use. Yet she soon found she had a gift for befriending Afghans, and once her profession became known she was eagerly sought out by Westerners desperate for a good haircut and by Afghan women, who have a long and proud tradition of running their own beauty salons. Thus an idea was born. With the help of corporate and international sponsors, the Kabul Beauty School welcomed its first class in 2003. Well meaning but sometimes brazen, Rodriguez stumbled through language barriers, overstepped cultural customs, and constantly juggled the challenges of a postwar nation even as she learned how to empower her students to become their families’ breadwinners by learning the fundamentals of coloring techniques, haircutting, and makeup.Yet within the small haven of the beauty school, the line between teacher and student quickly blurred as these vibrant women shared with Rodriguez their stories and their hearts: the newlywed who faked her virginity on her wedding night, the twelve-year-old bride sold into marriage to pay her family’s debts, the Taliban member’s wife who pursued her training despite her husband’s constant beatings. Through these and other stories, Rodriguez found the strength to leave her own unhealthy marriage and allow herself to love again, Afghan style.With warmth and humor, Rodriguez details the lushness of a seemingly desolate region and reveals the magnificence behind the burqa. Kabul Beauty School is a remarkable tale of an extraordinary community of women who come together and learn the arts of perms, friendship, and freedom.From the Hardcover edition.

     From the moment she uttered the brave and honest words, "I am an alcoholic," to interviewer George Stephanopoulos, Elizabeth Vargas began writing her story, as her experiences were still raw. Now, in Between Breaths, Vargas discusses her accounts of growing up with anxiety--which began suddenly at the age of six when her father served in Vietnam--and how she dealt with this anxiety as she came of age, eventually turning to alcohol for a release from her painful reality. The now-A&E Network reporter reveals how she found herself living in denial about the extent of her addiction, and how she kept her dependency a secret for so long. She addresses her time in rehab, her first year of sobriety, and the guilt she felt as a working mother who could never find the right balance between a career and parenting. Honest and hopeful, Between Breaths is an inspiring read. Winner of the Books for a Better Life Award in the First Book category Instant New York Times and USA Today Bestseller

    Only one has told her story.three years after giving up alcohol, Jowita Bydlowska found herself throwing back a glass of champagne like it was lemonade. 'It's a special occasion,' she said to her boyfriend. And indeed it was. It was a party celebrating the birth of their first child. It also marked Jowita's immediate, full-blown return to alcoholism and all that entails for a new mother who is at first determined to keep her problem a secret. Her trips to bottle shops stores are in-and-out missions. Perhaps she's being paranoid, but she thinks people tend to notice the stroller. Walking home, she stays behind buildings, in alleyways, taking discreet sips from a bottle she's stored in the nappy bag. She know she's become a villain: a mother who drinks; a mother who endangers her child. She drinks to forget this. And then the trouble really starts. Jowita Bydlowska's memoir of her relapse into addiction is an extraordinary achievement. the writing is raw and immediate. It places you in the moment - saddened and appalled but never able to look away. With brutal honesty, DRUNK MUM takes us through the binges and blackouts, the self-deception and less successful attempts to deceive others, the humiliations and extraordinary risk-taking. She shines a light on the endless hunger of wanting just one more drink, and one more again, while dealing with motherhood, anxiety, depression - and rehab. Advance Praise for Drunk Mom: 'Jowita is matter of fact, funny, fearless, and irreverent as she lifts the veil to chronicle what it means to be a young mother when both baby and mother have their own bottles - the shame and the inner voices, as well as the joy and relief. this book is for anyone who has ever struggled to make it through a day.' - Laura Albert, a.k.a. Jt LeRoy, author of Sarah, the Heart Is Deceitful Above All things and Harold's End 'Drunk Mom is a stunning, harrowing read. Why harrowing? Not just because of the dramatic story, of a new mother at the edge of her tether. And not only because of Jowita Bydlowska's skill as a writer, and the crisp, original way she tells it. What's most harrowing about Drunk Mom is that you can't stop reading it-this, the dark, now-told tale that lurks in the shadow of every seemingly normal family.' - Ian Brown, author of the Boy in the Moon 'A brave, brilliant and scathing self-portrait. Full of energy and insight. If Frida Kahlo had been a writer, she might have been compared to Jowita Bydlowska.' - Patricia Pearson, author of A Brief History of Anxiety - Yours and Mine. 'Fearless and troubling, and so very humane, Bydlowska explodes the cutesy momoir genre. You'll read it in one sitting.' - Katrina Onstad, author of Everybody Has Everything.

    Then he wanted the whole world to know it. After brutally killing a 16-year-old girl, he called the local NBC and told an editor precisely where to find the body.

    Rob and Renee's life together - they wed after graduate school, both became music journalists, and were married only five years when Renee died suddenly on Mother's Day, 1997 - is shared through the window of the mix tapes they obsessively compiled. There are mixes to court each other, mixes for road trips, mixes for doing the dishes, mixes for sleeping - and, eventually, mixes to mourn Rob's greatest loss. The tunes were among the great musical output of the early 1990s - Pearl Jam, Nirvana, Pavement, Yo La Tengo, REM, Weezer - as well as classics by The Rolling Stones, The Beatles, Aretha Franklin and more. Mixing the skilful, tragic punch of Dave Eggers and the romantic honesty of Nick Hornby, LOVE IS A MIX TAPE is a story of lost love and the kick-you-in-the-gut energy of great pop music.

    In 1985, Kristin Hersh was just starting to find her place in the world. After leaving home at the age of fifteen, the precocious child of unconventional hippies had enrolled in college while her band, Throwing Muses, was getting off the ground amid rumors of a major label deal. Then everything changed: she was diagnosed with bipolar disorder and found herself in an emotional tailspin; she started medication, but then discovered she was pregnant. An intensely personal and moving account of that pivotal year, Rat Girl is sure to be greeted eagerly by Hersh's many fans.

    She needs something to break the monotony of her life, and she invents a deranged assignment. She will take her mother's dog-eared copy of Julia Child's 1961 classic Mastering the Art of French Cooking, and she will cook all 524 recipes. In the span of one year. At first she thinks it will be easy. But as she moves from the simple Potage Parmentier (potato soup) into the more complicated realm of aspics and crépes, she realizes there’s more to Mastering the Art of French Cooking than meets the eye. With Julia’s stern warble always in her ear, Julie haunts the local butcher, buying kidneys and sweetbreads. She sends her husband on late-night runs for yet more butter and rarely serves dinner before midnight. She discovers how to mold the perfect Orange Bavarian, the trick to extracting marrow from bone, and the intense pleasure of eating liver. And somewhere along the line she realizes she has turned her kitchen into a miracle of creation and cuisine. She has eclipsed her life’s ordinariness through spectacular humor, hysteria, and perseverance.

    From a painfully shy childhood in which she tried, unsuccessfully, to hide her big body and even bigger opinions; to her public war with stand-up comedians over rape jokes; to her struggle to convince herself, and then the world, that fat people have value; to her accidental activism and never-ending battle royale with Internet trolls, Lindy narrates her life with a blend of humor and pathos that manages to make a trip to the abortion clinic funny and wring tears out of a story about diarrhea.With inimitable good humor, vulnerability, and boundless charm, Lindy boldly shares how to survive in a world where not all stories are created equal and not all bodies are treated with equal respect, and how to weather hatred, loneliness, harassment, and loss--and walk away laughing. Shrill provocatively dissects what it means to become self-aware the hard way, to go from wanting to be silent and invisible to earning a living defending the silenced in all caps.

    How could I be? I lived under death’s shadow every day. When you swallow eighty Vicodin, twenty sleeping pills, drink a bottle of vodka, and still survive, a certain sense of invulnerability stays with you. When you continually use drugs with the kind of reckless determination that I did, the limit to how much heroin or crack you can ingest is not defined in dollar amounts, but in the amounts your body can withstand without experiencing a seizure or respiratory failure. Yet at the end of every binge, every night of lining up six, seven, eight crack pipes and hitting them one after the other bam! bam! bam! every night of smoking and snorting bag after bag of heroin . . . after all of that, when you still wake up to see the same dirty sky over you as the night before, you start to think that instead of dying, maybe your punishment is to live---to be stuck in this purgatory of self-abuse and misery for an eternity. Sometimes you start to think that death would come as a blessed relief.Toward the end, I found myself contemplating death again. Only this time I wasn’t going to leave it to chance. I was going to buy a gun, load the thing, place the barrel in my mouth, and blow my fucking brains out. I sat on my parents’ sofa as I pondered this. All I needed was a gun. And then all--of my problems--would be solved.

    Edie Sedgwick exploded into the public eye like a comet. She seemed to have it all: she was aristocratic and glamorous, vivacious and young, Andy Warhol’s superstar. But within a few years she flared out as quickly as she had appeared, and before she turned twenty-nine she was dead from a drug overdose.In a dazzling tapestry of voices—family, friends, lovers, rivals—the entire meteoric trajectory of Edie Sedgwick’s life is brilliantly captured. And so is the Pop Art world of the ‘60s: the sex, drugs, fashion, music—the mad rush for pleasure and fame. All glitter and flash on the outside, it was hollow and desperate within—like Edie herself, and like her mentor, Andy Warhol. Alternately mesmerizing, tragic, and horrifying, this book shattered many myths about the ‘60s experience in America.

    His story begins here—before the homemade goat milk soaps and hand-gathered honeys, before his memoir of the city mouse’s move to the country, The Bucolic Plague—in I Am Not Myself These Days,  with “plenty of dishy anecdotes and moments of tragi-camp delight” (WashingtonPost).