In the years since then he has dedicated himself to an assortment of idiosyncratic reading challenges: spending a year reading only short books, spending a year reading books he always suspected he would hate, spending a year reading books he picked with his eyes closed.In One for the Books, Queenan tries to come to terms with his own eccentric reading style. How many more books will he have time to read in his lifetime? Why does he refuse to read books hailed by reviewers as “astonishing”? Why does he refuse to lend out books? Will he ever buy an e-book? Why does he habitually read thirty to forty books simultaneously? Why are there so many people to whom the above questions do not even matter? And what do they read? Acerbically funny yet passionate and oddly affectionate, One for the Books is a reading experience that true book lovers will find unforgettable.

    Collects the best of Anne Sexton's memoirs and prose reflections on her development as a poet

    . . colorful descriptions make this a fun read." -Los Angeles Times "One of the best sports books of the year." -Booklist Ken Baker wanted nothing more than to play ice hockey with the pros-until a brain tumor cut his dreams short while in college. After surgery and several years of rehab, Baker, who in high school was a top prospect for the U.S. Olympic team, put his successful journalism career on hold to attempt the seemingly impossible: a comeback. He moved away from his family to become the third-string goalie for the Bakersfield Condors, an AA-level minor-league team in the dusty oil town of Bakersfield, California. At the age of thirty-one, Baker became the oldest rookie in all of pro-hockey, facing 100-m.p.h. slap shots and long bus rides, hostile fans and cheap motel rooms, body bruises, and battle-worn teammates. From his visit to an NHL training camp to his first nerve-rattled minutes as a pro, Baker joins the rookies who still dream of making it to the Show, the veterans long past their prime, and the obsessive fans who keep them going. When the season is over, Baker's pro-hockey adventure ends up teaching him nearly everything he will ever need to know about life.

    She is determined, now, not to sacrifice or waste her self. She has struggled for years along the paths set by her suburban childhood, her Catholic upbringing, her failed marriage, and the mute duties of daughterhood. Now, she is trying to see the world through the eyes of the deer that stop outside her window and look in at her. As a wildlife rehabilitator, she feels a closer connection to the natural world as experienced by animals. As an apprentice potter, she sees in a Japanese tea bowl the ultimate balance of action and contemplation. As a Quaker, she can both sit still and sing. And as a writer, O'Reilley can speak clearly to readers at midlife who are expected to know it all, but don't.

    "There was waking, and there was sleeping. And then there were books," she writes, "a kind of parallel universe in which anything might happen and frequently did, a universe in which I might be a newcomer but never really a stranger. My real, true world." Later, she quotes editor Hazel Rochman: "Reading makes immigrants of us all. It takes us away from home, but, most important, it finds homes for us everywhere." Indeed, Quindlen's essays are full of the names of "friends," real or fictional—Anne of Green Gables and Heidi; Anthony Trollope and Jane Austen, to name just a few—who have comforted, inspired, educated, and delighted her throughout her life. In four short essays Quindlen shares her thoughts on the act of reading itself ("It is like the rubbing of two sticks together to make a fire, the act of reading, an improbable pedestrian task that leads to heat and light"); analyzes the difference between how men and women read ("there are very few books in which male characters, much less boys, are portrayed as devoted readers"); and cheerfully defends middlebrow literature:Most of those so-called middlebrow readers would have readily admitted that the Iliad set a standard that could not be matched by What Makes Sammy Run? or Exodus. But any reader with common sense would also understand intuitively, immediately, that such comparisons are false, that the uses of reading are vast and variegated and that some of them are not addressed by Homer.

    The name alone conjures images of chestnut-lined boulevards, sidewalk cafés, breathtaking façades around every corner--in short, an exquisite romanticism that has captured the American imagination for as long as there have been Americans.In 1995, Adam Gopnik, his wife, and their infant son left the familiar comforts and hassles of New York City for the urbane glamour of the City of Light. Gopnik is a longtime New Yorker writer, and the magazine has sent its writers to Paris for decades--but his was above all a personal pilgrimage to the place that had for so long been the undisputed capital of everything cultural and beautiful. It was also the opportunity to raise a child who would know what it was to romp in the Luxembourg Gardens, to enjoy a croque monsieur in a Left Bank café--a child (and perhaps a father, too) who would have a grasp of that Parisian sense of style we Americans find so elusive.So, in the grand tradition of the American abroad, Gopnik walked the paths of the Tuileries, enjoyed philosophical discussions at his local bistro, wrote as violet twilight fell on the arrondissements. Of course, as readers of Gopnik's beloved and award-winning "Paris Journals" in The New Yorker know, there was also the matter of raising a child and carrying on with day-to-day, not-so-fabled life. Evenings with French intellectuals preceded middle-of-the-night baby feedings; afternoons were filled with trips to the Musée d'Orsay and pinball games; weekday leftovers were eaten while three-star chefs debated a "culinary crisis."As Gopnik describes in this funny and tender book, the dual processes of navigating a foreign city and becoming a parent are not completely dissimilar journeys--both hold new routines, new languages, a new set of rules by which everyday life is lived. With singular wit and insight, Gopnik weaves the magical with the mundane in a wholly delightful, often hilarious look at what it was to be an American family man in Paris at the end of the twentieth century. "We went to Paris for a sentimental reeducation - I did anyway - even though the sentiments we were instructed in were not the ones we were expecting to learn, which I believe is why they call it an education."

    In “Losing Nora,” she deftly captures the rivalry, mutual respect, and intimacy that made up her relationship with her older sister and frequent writing companion. “Blame It on the Movies” is Ephron’s wry and romantic essay about surviving her disastrous twenties, becoming a writer, and finding a storybook ending. “Bakeries” is both a lighthearted tour through her favorite downtown patisseries and a thoughtful, deeply felt reflection on the dilemma of having it all. From keen observations on modern living, the joy of girlfriends, and best-friendship, to a consideration of the magical madness and miracle of dogs, to haunting recollections of life with her famed screenwriter mother and growing up the child of alcoholics, Ephron’s eloquent style and voice illuminate every page of this superb and singular work.

    Though officially unsolved, Jane’s murder was apparently the third in a series of seven brutal rape-murders in the area. Nelson was born a few years after Jane’s death, and the narrative is suffused with the long shadow her murder cast over both the family and her psyche.Jane explores the nature of this haunting incident via a collage of poetry, prose, and documentary sources, including newspapers, related "true crime" books, and fragments from Jane’s own diaries written. Each piece in Jane has its own form that serves as an important fissure, disrupting the tabloid, "page-turner" quality of the story, and eventually returning the reader to deeper questions about girlhood, empathy, identification, and the essentially unknowable aspects of another’s life and death. Part elegy, part memoir, detective story, part meditation on violence, and part conversation between the living and the dead, Jane’s powerful and disturbing subject matter, combined with its innovations in genre, expands the notion of what poetry can do—what kind of stories it can tell, and how it can tell them.

    . . There she stands, a phoenix risen from her own words: calm, slow, funny, courteous, both modest and very sure of herself, intense, sharply penetrating, devout but never pietistic, downright, occasionally fierce, and honest in a way that restores honor to the word."—Sally Fitzgerald, from the Introduction

    These are among the people that Joseph Mitchell immortalized in his reportage for The New Yorker and in four books—McSorley's Wonderful Saloon, Old Mr. Flood, The Bottom of the Harbor, and Joe Gould's Secret—that are still renowned for their precise, respectful observation, their graveyard humor, and their offhand perfection of style.These masterpieces (along with several previously uncollected stories) are available in one volume, which presents an indelible collective portrait of an unsuspected New York and its odder citizens—as depicted by one of the great writers of this or any other time.

    The remembrances in this collection of letters are founded in the fragments of stories her mother shared reluctantly, and the silences of her father, who first would not and then could not share more. They are whittled and sculpted from an archive of family relics: a marriage license, a letter, a visa petition, a photograph. And, just as often, they are built on the questions that can no longer be answered.Dear Memory is not a transcription but a process of simultaneously shaping and being shaped, knowing that when a writer dips their pen into history, what emerges is poetry. In carefully crafted missives on trauma and loss, on being American and Chinese, Victoria Chang shows how grief can ignite a longing to know yourself.

    New from the author of the critically acclaimed Blue Like Jazz--and the man who taught him the things his dad never did--comes a gut-wrenching, honest look at growing up without a father.

    Fenton Johnson’s lyrical prose and searching sensibility explores what it means to choose to be solitary and celebrates the notion, common in his Roman Catholic childhood, that solitude is a legitimate and dignified calling. He delves into the lives and works of nearly a dozen iconic “solitaries” he considers his kindred spirits, from Thoreau at Walden Pond and Emily Dickinson in Amherst, to Bill Cunningham photographing the streets of New York; from Cézanne (married, but solitary nonetheless) painting Mont Sainte-Victoire over and over again, to the fiercely self-protective Zora Neale Hurston. Each character portrait is full of intense detail, the bright wakes they’ve left behind illuminating Fenton Johnson’s own journey from his childhood in the backwoods of Kentucky to his travels alone throughout the world and the people he has lost and found along the way.Combining memoir, social criticism, and devoted research, At the Center of All Beauty will resonate with solitaries and with anyone who might wish to carve out more space for solitude.

    With no hiking experience to draw on, they embarked on a journey of physical challenge, discovering just how far they could push themselves. For Nathan a parallel journey took him inside himself. Having grown up in the shadow of a famous father, Richard J. Foster, author of Celebration of Discipline, Nathan had a lot of questions about who his father really was. Would hiking open the door for him to get to know this distant figure? As the one-time experiment evolved into a decade of challenging hikes up Colorado's 14,000-foot peaks, the Fourteeners, Nathan navigated his twenties--finishing college, choosing a career, a possible cross-country move, the early years of marriage and a major personal crisis. Along the way he would discover exactly what his father could offer him. This book also includes an afterword by Richard J. Foster, author of Celebration of Discipline and coauthor of Longing for God.

    Strummer, Jones, Simonon and Headon tell it like it was. Accept no substitutes.The unique story of the Clash, by the Clash. The Clash were a band like no other. Pioneers of punk rock, their incendiary gigs, intelligent songwriting, definitive style and passionate idealism caught the spirit of the times and made them a worldwide phenomenon. Rolling Stone magazine declared London Calling one of the greatest albums of all time, their autobiographical documentary Westway to the World won a Grammy, and their music lives on, influencing emerging bands and exciting new audiences today.This is the only book to be created by the band and is now available as an eBook. The Clash: trendsetters, icons, revolutionaries. One of the most influential bands of their time, they have inspired bookshelves of commentary, but this is the only book to be created by the band themselves. With unprecedented access to the Clash archives and original interviews with band, this publication tells it like it was. The full story from the last gang in town. Strummer, Jones, Simonon and Headon in their own words.Reviews‘One of the greatest bands of all time.' The Edge, U2 'A massive inspiration for me.' Bernard Sumner, Joy Division and New Order 'I adore The Clash.' Pete Townshend, The Who'One of England's greatest bands.' Nick Hornby ‘What could be more fun than a book about The Clash written by The Clash - What makes this tome more worthy than the reams of unofficial Clash literature available is that in it, the band tells their story in their own words - it's packed with little secrets and playful digs - Brilliant.' Short List 'Thrilling - This is a treasure trove of hitherto undiscovered gems. Long overdue.' Classic Rock ''This book is a cracker - crammed with Clash bits and bobs.' The Sunday Times