There is so much that I have never said, so many incidents I have never spoken of and so many feelings I have never expressed: great love on one hand; pain, torment, and humiliation on the other. Only I know what really happened between us, why we stayed together, why we parted, and the price I have paid for being John’s wife. —From the Introduction

    Reasons to Stay Alive is Matt’s inspiring account of how, minute by minute and day by day, he overcame the disease with the help of reading, writing, and the love of his parents and his girlfriend (and now-wife), Andrea. And eventually, he learned to appreciate life all the more for it. Everyone’s lives are touched by mental illness: if we do not suffer from it ourselves, then we have a friend or loved one who does. Matt’s frankness about his experiences is both inspiring to those who feel daunted by depression and illuminating to those who are mystified by it. Above all, his humor and encouragement never let us lose sight of hope. Speaking as his present self to his former self in the depths of depression, Matt is adamant that the oldest cliché is the truest—there is light at the end of the tunnel. He teaches us to celebrate the small joys and moments of peace that life brings, and reminds us that there are always reasons to stay alive.

     Michaela DePrince was known as girl Number 27 at the orphanage, where she was abandoned at a young age and tormented as a "devil child" for a skin condition that makes her skin appear spotted. But it was at the orphanage that Michaela would find a picture of a beautiful ballerina en pointe that would help change the course of her life. At the age of four, Michaela was adopted by an American family, who encouraged her love of dancing and enrolled her in classes. She went on to study at the Jacqueline Kennedy Onassis School at the American Ballet Theatre and is currently a member of the Dutch National Ballet’s junior company. She has appeared in the ballet documentary "First Position," as well as on "Dancing with the Stars, Good Morning America," and "Nightline." In this engaging, moving, and unforgettable memoir, Michaela shares her dramatic journey from an orphan in West Africa to becoming one of ballet's most exciting rising stars.

    He has been both a socialist opposed to the war in Vietnam and a supporter of the U.S. war against Islamic extremism in Iraq. He has been both a foreign correspondent in some of the world's most dangerous places and a legendary bon vivant with an unquenchable thirst for alcohol and literature. He is a fervent atheist, raised as a Christian, by a mother whose Jewish heritage was not revealed to him until her suicide. In other words, Christopher Hitchens contains multitudes. He sees all sides of an argument. And he believes the personal is political. This is the story of his life, a life lived large.

    He later worked with the Beatles as they recorded their singles “She Loves You” and “I Want to Hold Your Hand,” the songs that would propel them to international superstardom. In 1964 he would witness the transformation of this young and playful group from Liverpool into professional, polished musicians as they put to tape classic songs such as “Eight Days A Week” and “I Feel Fine.” Then, in 1966, at age nineteen, Geoff Emerick became the Beatles’ chief engineer, the man responsible for their distinctive sound as they recorded the classic album Revolver, in which they pioneered innovative recording techniques that changed the course of rock history. Emerick would also engineer the monumental Sgt. Pepper and Abbey Road albums, considered by many the greatest rock recordings of all time. In Here, There and Everywhere he reveals the creative process of the band in the studio, and describes how he achieved the sounds on their most famous songs. Emerick also brings to light the personal dynamics of the band, from the relentless (and increasingly mean-spirited) competition between Lennon and McCartney to the infighting and frustration that eventually brought a bitter end to the greatest rock band the world has ever known.

    Not long after, she also became mute. Her tenacious struggle to overcome these handicaps-with the help of her inspired teacher, Anne Sullivan-is one of the great stories of human courage and dedication. In this classic autobiography, first published in 1903, Miss Keller recounts the first 22 years of her life, including the magical moment at the water pump when, recognizing the connection between the word "water" and the cold liquid flowing over her hand, she realized that objects had names. Subsequent experiences were equally noteworthy: her joy at eventually learning to speak, her friendships with Oliver Wendell Holmes, Edward Everett Hale and other notables, her education at Radcliffe (from which she graduated cum laude), and-underlying all-her extraordinary relationship with Miss Sullivan, who showed a remarkable genius for communicating with her eager and quick-to-learn pupil.

    Blow mines the compelling poetry of the out-of-time African-American Louisiana town where he grew up -- a place where slavery's legacy felt astonishingly close, reverberating in the elders' stories and in the near-constant wash of violence.Blow's attachment to his mother -- a fiercely driven woman with five sons, brass knuckles in her glove box, a job plucking poultry at a nearby factory, a soon-to-be-ex husband, and a love of newspapers and learning -- cannot protect him from secret abuse at the hands of an older cousin. It's damage that triggers years of anger and searing self-questioning.Finally, Blow escapes to a nearby state university, where he joins a black fraternity after a passage of brutal hazing, and then enters a world of racial and sexual privilege that feels like everything he's ever needed and wanted, until he's called upon, himself, to become the one perpetuating the shocking abuse.A powerfully redemptive memoir that both fits the tradition of African-American storytelling from the South, and gives it an indelible new slant.

    She was awed by her aunts and uncles and cousins, but haunted by the secrets of the family and the unspoken, untold stories of the barrio--even as she tried to find her own voice in the sea of language around her, written and spoken, English and Spanish, bodies and books, Western art and sacred altars. Her family became her private pantheon, a gathering circle of powerful orisha-like women with tragic real-world wounds, and she vowed to tell their stories--but first she'd have to get off the stairs and join the dance. She'd have to find her language.Weaving together Hudes's love of books with the stories of her family, the lessons of North Philly with those of Yale, this is an inspired exploration of home, memory, and belonging--narrated by an obsessed girl who fought to become an artist so she could capture the world she loved in all its wild and delicate beauty.

    Here, in their own words and images, is the life of a band who for the last forty years have been playing the soundtrack of our lives.

    It was the year rock and roll evolved into the premier art form of its time and accelerated the drive for personal freedom throughout the Western world. The feedback loop between the artists and their times ignited an unprecedented explosion of creativity. The Beatles made their first artistic statement with Rubber Soul and performed at Shea Stadium, the first rock concert to be held in a major American stadium. Bob Dylan released “Like a Rolling Stone”—the quintessential anthem of the year—and went electric at the Newport Folk Festival. The Rolling Stones' hit song "Satisfaction" catapulted the band to world-wide success. Fashion designer Mary Qaunt raised the hemlines of her skirts to above the knee, introducing the iconic miniskirt.This was not only the year of rock as new genres such as funk and psychedelia were born. Soul music became a prime force of desegregation as Motown crossed out of the R&B charts on to the top of the Billboard Top 100. Country music reached new heights with Nashville and the Bakersfield sound and competition between musicians coincided with seismic cultural shifts wrought by the Civil Rights Movement, psychedelics, and Vietnam.In 1965, Andrew Grant Jackson combines fascinating and often surprising personal stories with a panoramic historical narrative.

    Macfarlane is both a mountaineer and a scholar. Consequently we get more than just a chronicle of climbs. He interweaves accounts of his own adventurous ascents with those of pioneers such as George Mallory, and in with an erudite discussion of how mountains became such a preoccupation for the modern western imagination. The book is organised around a series of features of mountaineering--glaciers, summits, unknown ranges--and each chapter explores the scientific, artistic and cultural discoveries and fashions that accompanied exploration. The contributions of assorted geologists, romantic poets, landscape artists, entrepreneurs, gallant amateurs and military cartographers are described with perceptive clarity. The book climaxes with an account of Mallory's fateful ascent on Everest in 1924, one of the most famous instances of an obsessive pursuit. Macfarlane is well-placed to describe it since it is one he shares. MacFarlane's own stories of perilous treks and assaults in the Alps, the Cairngorms and the Tian Shan mountains between China and Kazakhstan are compelling. Readers who enjoyed Francis Spufford's masterly I May Be Some Time: Ice and the English Imagination will enjoy Mountains of the Mind. This is a slighter volume than Spufford's and it loses in depth what it gains in range, but for an insight into the moody, male world of mountaineering past and present it is invaluable. --Miles Taylor

     She writes of making up her mind at a young age to become a country music star, knowing then that her feelings and crushes on girls were “sinful” and hoping and praying that she would somehow be “fixed.” (“Dear God, please don’t let me be gay. I promise not to lie. I promise not to steal. I promise to always believe in you . . . Please take it away.”) We see her, high school homecoming queen, heading out on her own at seventeen and landing a job as a featured vocalist on the Ozark Jubilee (the show that started Brenda Lee, Red Foley, and Porter Wagoner), being cast in Country Music U.S.A., doing four live shows a day, and—after only a few months in Nashville—her dream coming true, performing on the stage of the Grand Ole Opry . . .  She describes writing and singing her own songs for producers who’d discovered and recorded the likes of Reba McEntire, Shania Twain, and Toby Keith, who heard in her music something special and signed her to a record contract, releasing her first album and sending her out on the road on her first bus tour . . . She writes of sacrificing all for a shot at success that would come a couple of years later with her first hit single, “Shut Up And Drive” . . . her songs (from her fourth album, Single White Female) climbing the Billboard chart for twenty-nine weeks, hitting the #1 spot . . .   She writes about the friends she made along the way—Vince Gill, Brad Paisley, and others—writing songs, recording and touring together, some of the friendships developing into romantic attachments that did not end happily . . . Keeping the truth of who she was clutched deep inside, trying to ignore it in a world she longed to be a part of—and now was—a world in which country music stars had never been, could not be, openly gay . . . She writes of the very real prospect of losing everything she’d worked so hard to create . . . doing her best to have a real life—her best not good enough . . .  And in the face of everything she did to keep herself afloat, she writes about how the vortex of success and hiding who she was took its toll: her life, a tangled mess she didn’t see coming, didn’t want to; and, finally, finding the guts to untangle herself from the image of the country music star she’d become, an image steeped in long-standing ideals and notions about who—and what—a country artist is, and what their fans expect them to be . . . I am a songwriter,” she writes. “I am a singer of my songs—and I have a story to tell. As I’ve traveled this path that has delivered me to where I am today, my monument of thanks, paying honor to God, remains. I will do all I can with what I have been given . . .”  Like Me is fearless, inspiring, true.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    -John Green, #1 New York Times bestselling author of Turtles All The Way Down and The Fault in Our StarsIn Akilah Hughes's world, family--and life--are often complicated, but always funny. Through intimate and hilarious essays, Akilah takes readers along on her journey from the small Kentucky town where she was born--and eventually became a spelling bee champ and 15-year-old high school graduate--to New York City, where she took careful steps to fulfill her dream of becoming a writer and performer. Like Tiffany Haddish's The Last Black Unicorn or Mindy Kaling's Is Everyone Hanging Out Without Me? for the YA set, Akilah pens revealing and laugh-out-loud funny essays about her life, covering everything from her racist fifth grade teacher, her struggles with weight and acne, her failed attempts at joining the cheerleading team, how to literally get to New York (hint: for a girl on a budget, it may include multiple bus transfers) and exactly how to make it once you finally get there.

    I buried the girl I was because she ran into all kinds of trouble. I tried to erase every memory of her, but she is still there, somewhere. . . . I was trapped in my body, one that I barely recognized or understood, but at least I was safe.”In her phenomenally popular essays and long-running Tumblr blog, Roxane Gay has written with intimacy and sensitivity about food and body, using her own emotional and psychological struggles as a means of exploring our shared anxieties over pleasure, consumption, appearance, and health. As a woman who describes her own body as “wildly undisciplined,” Roxane understands the tension between desire and denial, between self-comfort and self-care. In Hunger, she explores her past—including the devastating act of violence that acted as a turning point in her young life—and brings readers along on her journey to understand and ultimately save herself.With the bracing candor, vulnerability, and power that have made her one of the most admired writers of her generation, Roxane explores what it means to learn to take care of yourself: how to feed your hungers for delicious and satisfying food, a smaller and safer body, and a body that can love and be loved—in a time when the bigger you are, the smaller your world becomes.