Here, on a locked adolescent psychiatric ward, Keith meets the bewitching Laura. The two teens begin a passionate love affair--only to be separated and placed in different hospitals.By turns lyrical, funny, and poignant, and always informed by touching candor, The Boy with the Thorn in His Side is full of fascinating characters and unexpected twists-at once an odyssey into the extremes of the American 1970s, a universal tale of star-crossed teenage love, and an account of a deeply sensitive young person's struggle to find his place in the world. It marks the debut of a poised and compelling writer.Keith Fleming had been a pretty ordinary Midwestern kid--Little League, Boy Scouts--but the year he turns twelve, his family is torn apart by divorce when he learns that his mother and his Uncle Ed are both gay. By the time Keith is fifteen he has become disfigured by severe acne and is so wild that his father and stepmother place him in a draconian adolescent mental institution. Here he meets Laura, a pretty Mexican girl with whom he begins a passionate love affair.Keith's mother finally demands his release after a series of hospitalizations and sends him off to live with his uncle, Edmund White, in New York. Keith is soon transformed by his young uncle: He is sent to a dermatologist, to Barneys "Boy's Town" for new clothes, and to prep school. He receives a broad cultural education from Uncle Ed at home--all this despite Ed's being poor as well as completely caught up in the beehive of social and sexual activity of 1970s gay Manhattan. In the tradition of This Boy's Life and Girl, Interrupted, The Boy with a Thorn in His Side is a beautifully rendered saga of a deeply sensitive and alienated teen struggling to find his place in the world-and at the same time a very modern tale of teenage love and a young person's touching and complicated bond with an unlikely hero.

    8 pages of illustrations.

    That is what is strange—that friends, even passionate love,are not my real life, unless there is time alone in which to explore what is happening or what has happened." In this journal, she says, "I hope to break through into the rough, rocky depths,to the matrix itself. There is violence there and anger never resolved. My need to be alone is balanced against my fear of what will happen when suddenly I enter the huge empty silence if I cannot find support there."In this book, we are closer to the marrow than ever before in May Sarton's writing.

    Crews writing is informed by a deep love of language, literature, nature, blood sports, and his own kind of people--namely rural, southern, hard-drinking, honest-measure hell-raisers. We are all lucky to have him to tell us about cockfighting, dogfighting, mending an injured hawk, becoming a great jockey, poaching gators, and taking ourselves much too seriously"--Chicago Tribune"The author’s gifts include an elegant and easy style, a knack for telling a good story, and a wry and riotous sense of humor. . . . Unforgettable characters whose preoccupations evoke such memorable detail. Despite the concreteness of his descriptions, his sports cronies and the bar rats he encounters take on a universality in his graceful prose."--Newsday In this collection of fiction and essays, Crews focuses on the people and places of Florida--full of natural wonders and other, grimier delights that make perfect grist for his forceful style, Southern Gothic sensibilities, and rowdy sense of humor. From poaching gators, to the Gatornationals, to cockfighting--a must-have collection for Harry Crews fans new and old.

    It is a story of mid-life longings and discoveries, of lessons learned in the search for home and a new sense of purpose, and the bittersweet intensity of life with teenagers--holding on, letting go. Poised on the threshold between family life as she's always known it and her older son's departure for college, Kenison is surprised to find that the times she treasures most are the ordinary, unremarkable moments of everyday life, the very moments that she once took for granted, or rushed right through without noticing at all. The relationships, hopes, and dreams that Kenison illuminates will touch women's hearts, and her words will inspire mothers everywhere as they try to make peace with the inevitable changes in store.

    Taber shares memories of her childhood in the Southwest and Mexico as well as her married life and early pursuit of a writing career.

    In a voice at once coolly detached and utterly confident, we follow Bryan Charles's journey navigating love, work, and family, from the streets of Manhattan to the upper floors of corporate America. This is a gripping meditation on the self, ricocheting between the multitudes and solitude, and between the industrial-turned-residential spaces of Brooklyn and the towers of the World Trade Center, where his life takes an unexpected turn. Charles's story is a spare, honest, and often hilarious narrative of expectation and loss, and of the ordinary becoming the extraordinary.

    YouTube and Facebook dominate the web. In Reality Hunger: A Manifesto, his landmark new book, David Shields (author of the New York Times best seller The Thing About Life Is That One Day You’ll Be Dead) argues that our culture is obsessed with “reality” precisely because we experience hardly any.Most artistic movements are attempts to figure out a way to smuggle more of what the artist thinks is reality into the work of art. So, too, every artistic movement or moment needs a credo, from Horace’s Ars Poetica to Lars von Trier’s “Vow of Chastity.” Shields has written the ars poetica for a burgeoning group of interrelated but unconnected artists in a variety of forms and media who, living in an unbearably manufactured and artificial world, are striving to stay open to the possibility of randomness, accident, serendipity, spontaneity; actively courting reader/listener/viewer participation, artistic risk, emotional urgency; breaking larger and larger chunks of “reality” into their work; and, above all, seeking to erase any distinction between fiction and nonfiction.The questions Reality Hunger explores—the bending of form and genre, the lure and blur of the real—play out constantly all around us. Think of the now endless controversy surrounding the provenance and authenticity of the “real”: A Million Little Pieces, the Obama “Hope” poster, the sequel to The Catcher in the Rye, Robert Capa’s “The Falling Soldier” photograph, the boy who wasn’t in the balloon. Reality Hunger is a rigorous and radical attempt to reframe how we think about “truthiness,” literary license, quotation, appropriation.Drawing on myriad sources, Shields takes an audacious stance on issues that are being fought over now and will be fought over far into the future. People will either love or hate this book. Its converts will see it as a rallying cry; its detractors will view it as an occasion for defending the status quo. It is certain to be one of the most controversial and talked-about books of the year.

    He is out of control by the time he is 13 -- running with gangs, stealing cars, fooling around with drugs and guns, and in general making his family’s life hell. Confronted with his growing recklessness and defiance, his mother, the poet Deborah Digges, decides to try to accept Stephen on his own terms--a course that stuns her family and leads to the breakup of her second marriage. Digges “shadows” him on his late-night forays so that she can understand his world, welcomes his gang into their apartment, and tries to see life through his eyes. When she discovers that children who are devoted to animals have an easier time forming attachments to other people, she fills their home with a menagerie of ailing or abandoned pets. She also turns to an unconventional therapist who offers unusual — but helpful — treatment.The Stardust Lounge isn’t your usual story of rebellious adolescence. The power of Digges’s memoir comes from her stubborn unwillingness to give up on Stephen. Even when things are roughest, Digges manages to see the intelligent, sensitive child behind the hostile behavior. However difficult the path she chooses, her story is ultimately a heartening one, and it’s impossible not to root for this family as it rebuilds itself.

    While the twenty-eight-year-old writer is at the beginning of his adult life, his ninety-two-year-old grandmother is nearing the end of hers. Between escorting his grandma to local attractions and restaurants, the two exchange memories and she begins to reveal details of her inspiring life story.Told with subtlety, humour, and heart, this delightful comic memoir reflects on family connections; how we experience adversity, the passage of time, and aging; and most importantly what it truly means to feel lucky.

    Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly.In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car.In essays that have been published by the New York Times, MTV, and Pitchfork, among others—along with original, previously unreleased essays—Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.

    But when she least expects it, her reckless past catches up with her; convicted and sentenced to fifteen months at an infamous women's prison in Connecticut, Piper becomes inmate #11187-424. From her first strip search to her final release, she learns to navigate this strange world with its arbitrary rules and codes, its unpredictable, even dangerous relationships. She meets women from all walks of life, who surprise her with tokens of generosity, hard truths and simple acts of acceptance.

    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).

    From Hells Angel to celebrity bodyguard. The revealing autobiography of an American man.Chuck Zito comes by his reputation honestly as one of the toughest, most uncompromising men ever to sit astride a Harley. Now, with tales both hilarious and chilling, violent and truthful, Zito tells his life story in his own words.From growing up on the mean streets of Brooklyn and the Bronx, where fighting was a way of life, to becoming president of the New York chapter of the Hells Angels, to the wild and crazy life of protecting some of the world's biggest celebrities, Zito might be seen as a latter-day outlaw, the last of a dying breed of men. But throughout his tempestuous days, one thing defined him: his unfailing sense of justice, of what's really right and what's really wrong. That's how Zito found himself facing his biggest challenge: refusing to cooperate with a federal investigation into his brothers, the Hells Angels, and in the process losing the very thing he cherished most-his freedom.Zito's astonishing recovery from this experience, and the unique kind of stardom he forged based on hard work and sheer will, is a testament to his courage, his ambition, and his indomitable heart-a testament now recorded unflinchingly in Street Justice.

    I forget things too. It makes me sad. Or it makes me the saddest. The sadness is not really about George W. or our American optimism; the sadness lives in the recognition that a life cannot matter.The award-winning poet Claudia Rankine, well known for her experimental multigenre writing, fuses the lyric, the essay, and the visual in this politically and morally fierce examination of solitude in the rapacious and media-driven assault on selfhood that is contemporary America. With wit and intelligence, Rankine strives toward an unprecedented clarity-of thought, imagination, and sentence-making-while arguing that recognition of others is the only salvation for ourselves, our art, and our government.Don't Let Me Be Lonely is an important new confrontation with our culture, with a voice at its heart bewildered by its inadequacy in the face of race riots, terrorist attacks, medicated depression, and the antagonism of the television that won't leave us alone.