The story of labor-camp inmate Ivan Denisovich Shukhov, it graphically describes his struggle to maintain his dignity in the face of communist oppression. An unforgettable portrait of the entire world of Stalin's forced work camps, One Day in the Life of Ivan Denisovich is one of the most extraordinary literary documents to have emerged from the Soviet Union and confirms Solzhenitsyn's stature as "a literary genius whose talent matches that of Dosotevsky, Turgenev, Tolstoy"--Harrison SalisburyThis unexpurgated 1991 translation by H. T. Willetts is the only authorized edition available, and fully captures the power and beauty of the original Russian.

    Throughout the book, Aguon grapples with one heart-breaking loss after another by immersing himself in the beauty of his island, the magic of Micronesia, and the wisdom of his favorite books and elders.

    With the sheer brilliance of her imagination, Grealy leads us on delightful journeys with her wit, unflinching honesty and peerless intelligence. As Seen On TV breaks the mould of the essay, and is destined, like the memoir that preceded it, to become a modern classic.You are here: a map to this book --As seen on TV --Nerve --Mirrorings --What it takes --Fool in boots --The country of childhood --My God --A brief sketch of myself at fourteen --Written in four voices for the Hungry Mind Review issue on regional writing --The story so far --The right language --The present tense --Twin world --The girls --The yellow house

    208 pp. 15,000 print.From the Hardcover edition.

    . . . Like pulling a ghost from a dark room, this is an accomplished work of historical portraiture: precise in its objects, complex in its melancholy, and insightful in its humor." —Thalia Field A fledgling radio producer, Shawn Wen became fascinated by the one subject who seemed impossible to put on air: French mime Marcel Marceau, the internationally acclaimed “artist of silence.” At the height of his fame, Marceau was synonymous with Bip, the red-lipped, white-faced mute in a sailor suit who conjured scenes, stories, and sweeping emotion through the gestures of his body alone. Influenced by Charlie Chaplin’s Little Tramp, credited with inspiring Michael Jackson’s Moonwalk, Marceau attempted in his performances to “reveal the fundamental essences of humanity.” Beyond Bip, Marceau was a Jewish Holocaust survivor and member of the French resistance; a bombastic iconoclast; a collector of failed marriages, masks, antique knives and doting fans; an impassioned workaholic who performed into his eighties and died deeply in debt two years after retiring from the stage. In precise, jewel-like scenes and vignettes, A Twenty Minute Silence Followed by Applause pays homage to the singular genius of a mostly-forgotten art form. Drawing on interviews, archival research, and meticulously observed performances, Wen translates the gestural language of mime into a lyric written portrait by turns whimsical, melancholic, and haunting.Shawn Wen is a writer, radio producer, and multimedia artist. Her writing has appeared in The New Inquiry, The Seneca Review, The Iowa Review, The White Review, and the anthology City by City: Dispatches from the American Metropolis (Faber and Faber, 2015). Her radio work has been broadcast on This American Life, Freakonomics Radio, and Marketplace. She is the recipient of numerous fellowships, including the Ford Foundation Professional Journalism Training Fellowship and the Royce Fellowship.

    If I sit still and don't do anything, the world goes on beating like a slack drum, without meaning. We must be moving, working, making dreams to run toward; the poverty of life without dreams is too horrible to imagine."-- Sylvia Plath, from "Notebooks, February 1956"Renowned for her poetry, Sylvia Plath was also a brilliant writer of prose. This collection of short stories, essays, and diary excerpts highlights her fierce concentration on craft, the vitality of her intelligence, and the yearnings of her imaginaton. Featuring an introduction by Plath's husband, the late British poet Ted Hughes, these writings also reflect themes and images she would fully realize in her poetry. "Jonny Panic and the Bible of Dreams" truly showcases the talent and genius of Sylvia Plath.

    In this lively, entertaining, and often hilarious memoir, he relates the early life of a first-generation Thai-American and his constant, often bumbling attempts to reconcile cultural and familial expectations with the trials of growing up in 1980s America.            Young Ira may have lived in Oak Lawn, Illinois, but inside the family’s bi-level home was “Thailand with American conveniences.” They ate Thai food, spoke the Thai language, and observed Thai customs. His bedtime stories were tales of Buddha and monkey-faced demons. On the first day of school his mother reminded him that he had a Siamese warrior’s eyes—despite his thick glasses—as Aunty Sue packed his Muppets lunch box with fried rice. But when his schoolmates played tag he was always It, and as he grew, he face the constant challenge of reconciling American life with a cardinal family rule: “Remember, you are Thai.”            Inside the Thai Buddhist temple of Chicago, another “simulated Thailand,” are more rules, rules different from those of the Southside streets, and we see mainstream Western religion—“god people”—through the Sukrungruang family’s eyes. Within the family circle, we meet a mother who started packing for her return to Thailand the moment she arrived; her best friend, Aunty Sue, Ira’s second mother, who lives with and cooks for the family; and a wayward father whose dreams never quite pan out.            Talk Thai is a richly told account that takes us into an immigrant’s world. Here is a story imbued with Thai spices and the sensibilities of an American upbringing, a story in which Ira practices English by reciting lines from TV sitcoms and struggles with the feeling of not belonging in either of his two worlds. For readers who delight in the writings of Amy Tan, Gish Jen, and other Asian-Americans, Talk Thai provides generous portions of a still-mysterious culture while telling the story of an American boyhood with humor, playfulness, and uncompromising honesty.

    Pure Drivel is a collection of pieces, most of them written for the New Yorker, that demonstrate Martin's playful way with words and his unerring ability to create a feeling of serendipitous improvisation even on the printed page. Here's a passage from a piece that announces a shortage of periods in the Times Roman font: "Most vulnerable are writers who work in short, choppy sentences," said a spokesperson for Times Roman, who continued, "We are trying to remedy the situation and have suggested alternatives, like umlauts, since we have plenty of umlauts--and, in fact, have more umlauts than we could possibly use in a lifetime! Don't forget, umlauts can really spice up a page with their delicate symmetry--resting often midway in a word, letters spilling on either side--and not only indicate the pronunciation of a word but also contribute to a writer's greater glory because they're fancy, not to mention that they even look like periods, indeed, are indistinguishable from periods, and will lead casual readers to believe that the article actually contains periods!" Although some of these pieces flirted with topicality when they first appeared, Martin is most successful when he leaves the real world behind and gives his wit free rein. This collection preserves the best (so far) of his glorious improvisations. --Simon Leake

    Combining memoir with artistic and philosophical musings, the poet and National Book Critics Circle Award winner (for My Alexandria) begins by confessing his obsession with the 17th-century Dutch still life that serves as the title of this book. As he analyzes the items depicted in the painting, he skillfully introduces his thoughts on our intimate relationships to objects and subsequently explains how they are often inextricably bound to the people and places of an individual lifetime. Further defined by imperfections attained from use, each object from an aging oak table to a chipped blue and white china platter forms a springboard for reflection. Doty intersperses personal reminiscences throughout, but he always returns to the subject of still-life painting and its silent eloquence. Doty's observations on balance, grief, beauty, space, love, and time are imparted with wisdom and poetic grace.Books like this, that address the sources of creation and the sources of our humanness, come along once in a decade. -Susan Salter Reynolds, Los Angeles Times"This small book is as wise, sensitive, intense, and affecting as anything I have read in recent years." -Doris Grumbach, author of Fifty Days of Solitude"A gem." -Library Journal"Mark Doty's prose is insistently exploratory, yet every aside, every detour, turns into pertinence, and it all seems effortless, as though the author were wondering, and marveling, aloud." -Bernard Cooper, author of Truth Serum"A dazzling accomplishment, its radiance bred of lucid attention and acute insight. The subject is the profoundly personal act of perception translated into description. Doty succeeds in rendering this most contemplative of arts-the still life-into a riveting drama." -Patricia Hampl, author of I Could Tell You Stories

    Fifty true stories told on The Moth Radio Hour.

    Traveling to Baghdad and then to Mosul with the 1st Cavalry Division, McDonell offers an unforgettable look at the way things stand now—at the translators stranded in a country that doesn’t look kindly on their cooperation, at the infantrymen struggling to make something out of the soft counterinsurgency missions they call chai-ops, at the commanders inured to American journalists and Iraqi officials both—and what the so-called “end of major combat operations” means for where they’re going.

    Beginning with 1975 and John McPhee's ingenious piece, "The Search for Marvin Gardens," D'Agata selects an example of creative nonfiction for each subsequent year. These essays are unrestrained, elusive, explosive, mysterious—a personal lingual playground. They encompass and illuminate culture, myth, history, romance, and sex. Each essay is a world of its own, a world so distinctive it resists definition. And (Prologue) / Guy Davenport --The search for Marvin Gardens (1975) / John McPhee --The raven (1976) / Barry Lopez --Unguided tour (1977) / Susan Sontag --Girl (1978) / Jamaica Kincaid --The white album (1979) / Joan Didion --May morning (1980) / James Wright --Country cooking from central France: roast boned rolled stuffed shoulder of lamb (Farce double) (1981) / Harry Mathews --Total eclipse (1982) / Annie Dillard --The theory and practice of postmodernism: A manifesto (1983) / David Antin --The dream of India (1984) / Eliot Weinberger --Erato, love poetry (1985) / Theresa Hak Kyung Cha --The marionette theater (1986) / Dennis Silk --Kinds of water (1987) / Anne Carson --Oil (1988) / Fabio Morabito --Needs (1989) / George W.S. Trow --Notes toward a history of scaffolding (1990) / Susan Mitchell --Delft (1991) / Albert Goldbarth --" ... and nobody objected" (1992) / Paul Metcalf --Captivity (October 1992) / Sherman Alexie --Red shoes (1993) / Susan Griffin --Black (1994) / Alexander Theroux --Foucault and pencil (1995) / Lydia Davis --Life story (1996) / David Shields --Ticket to the fair (1997) / David Foster Wallace --Darling's prick (1998) / Wayne Koestenbaum --The intercession of the saints (1999) / Carole Maso --Monument (2000) / Mary Ruefle --A I (2001) / Thalia Field --Sleep (2002) / Brian Lennon --The body (2003) / Jenny Boully --Things to do today (Epilogue) / Joe Wenderoth

    Playing with Fire is written in the collective voice of women employed by a large NGO as activists in their communities and is based on diaries, interviews, and conversations among them. Together their personal stories reveal larger themes and questions of sexism, casteism, and communalism, and a startling picture emerges of how NGOs both nourish and stifle local struggles for solidarity. The Hindi edition of the book, Sangtin Yatra, published in 2004, created controversy that resulted in backlash against the authors by their employer. The publication also drew support for the women and instigated a public conversation about the issues exposed in the book. Here, Richa Nagar addresses the dispute in the context of the politics of NGOs and feminist theory, articulating how development ideology employed by aid organizations serves to reinforce the domination of those it claims to help. The Sangtin Writers, Anupamlata, Ramsheela, Reshma Ansari, Richa Singh, Shashibala, Shashi Vaish, Surbala, and Vibha Bajpayee, are grassroots activists and members of a small organization called Sangtin in Uttar Pradesh, India. Richa Nagar teaches women’s studies at the University of Minnesota.

    What he discovered was overwhelming: a culture of heroes who had turned into inanimate objects and of politicians and warriors who were poets; a land of difficult, often beautiful contradictions. His perceptions always heightened by his special sensitivity to “the views from underneath,” Rushdie reveals a land resounding with the clashes between history and morality, government and individuals.

    Haunted by the crimes in which he'd participated, the soldier wanted to confess to--& obtain absolution from--a Jew. Faced with the choice between compassion & justice, silence & truth, Wiesenthal said nothing. But even years after the war had ended, he wondered: Had he done the right thing? What would you have done in his place?In this important book, 53 distinguished men & women respond to Wiesenthal's questions. They are theologians, political leaders, writers, jurists, psychiatrists, human rights activists, Holocaust survivors & victims of attempted genocides in Bosnia, Cambodia, China & Tibet. Their responses, as varied as their experiences of the world, remind us that Wiesenthal's questions are not limited to events of the past. Often surprising, always thought provoking, The Sunflower will challenge you to define your beliefs about justice, compassion & responsibility.