And as books became more common, the question of where and how to store them became more pertinent. But how did we come from continuous sheets rolled on spools to the ubiquitous portable item you are holding in your hand? And how did books come to be restored and displayed vertically and spine out on shelves? Henry Petroski answers these and virtually every other question we might have about books as he contemplates the history of the book on bookshelf with his inimitable subtle analysis and intriguing detail."After reading this book, you will not look at a book or a bookshelf in the same way." —The Seattle Times

    He tackles five main skills (and picks up a few more along the way), choosing them for their difficulty to master and their distinct lack of career marketability--chess, singing, surfing, drawing, and juggling. What he doesn't expect is that the circuitous paths he takes while learning these skills will prove even more satisfying than any knowledge he gains.He soon finds himself having rapturous experiences singing Spice Girls songs in an amateur choir, losing games of chess to eight-year-olds, and dodging scorpions at a surf camp in Costa Rica. Along the way, he interviews dozens of experts to explore the fascinating psychology and science behind the benefits of becoming an adult beginner. Weaving comprehensive research and surprising insight gained from his year of learning dangerously, Vanderbilt shows how anyone can get better at beginning again--and, more important, why they should take those first awkward steps. Ultimately, he shares how his refreshed sense of curiosity opened him up to a profound happiness and a deeper connection to the people around him. It's about how small acts of reinvention, at any age, can make life seem magical.

    Mary Roach dodges hostile fire with the U.S. Marine Corps Paintball Team as part of a study on hearing loss and survivability in combat. She visits the fashion design studio of U.S. Army Natick Labs and learns why a zipper is a problem for a sniper. She visits a repurposed movie studio where amputee actors help prepare Marine Corps medics for the shock and gore of combat wounds. At Camp Lemmonier, Djibouti, in east Africa, we learn how diarrhea can be a threat to national security. Roach samples caffeinated meat, sniffs an archival sample of a World War II stink bomb, and stays up all night with the crew tending the missiles on the nuclear submarine USS Tennessee. She answers questions not found in any other book on the military: Why is DARPA interested in ducks? How is a wedding gown like a bomb suit? Why are shrimp more dangerous to sailors than sharks? Take a tour of duty with Roach, and you’ll never see our nation’s defenders in the same way again.

    So too is a fat woman, a horny woman, a woman shrieking with laughter. Women who are one or more of these things have heard, or perhaps simply intuited, that we are repugnantly excessive, that we have taken illicit liberties to feel or fuck or eat with abandon. After bellowing like a barn animal in orgasm, hoovering a plate of mashed potatoes, or spraying out spit in the heat of expostulation, we've flinched-ugh, that was so gross. I am so gross. On rare occasions, we might revel in our excess--belting out anthems with our friends over karaoke, perhaps--but in the company of less sympathetic souls, our uncertainty always returns. A woman who is Too Much is a woman who reacts to the world with ardent intensity is a woman familiar to lashes of shame and disapproval, from within as well as without. Written in the tradition of Shrill, Dead Girls, Sex Object and other frank books about the female gaze, TOO MUCH encourages women to reconsider the beauty of their excesses-emotional, physical, and spiritual. Rachel Vorona Cote braids cultural criticism, theory, and storytelling together in her exploration of how culture grinds away our bodies, souls, and sexualities, forcing us into smaller lives than we desire. An erstwhile Victorian scholar, she sees many parallels between that era's fixation on women's "hysterical" behavior and our modern policing of the same; in the space of her writing, you're as likely to encounter Jane Eyre and Lizzie Bennet as you are Britney Spears and Lana Del Rey. This book will tell the story of how women, from then and now, have learned to draw power from their reservoirs of feeling, all that makes us "Too Much."

    Whether you're a People-Pleaser, Overachiever, Pushover, or have serious FOMO, bestselling "anti-guru" Sarah Knight helps you say what you really mean without being really mean--or burning out for fear of missing out.Life is so much better when you say no with confidence--and without guilt, fear, or regret. F*ck No! delivers practical strategies that give you the power to decline, and concrete examples that put the words right into your mouth. You'll discover:The joy of noNo-Tips for all occasionsHow to set boundariesFill-in-the-blank F*ckNotesThe No-and-Switch, the Power No--and how to take no for an answer yourselfAnd much more!Praise for Sarah Knight and the No F*cks Given Guides"Self-help to swear by." --Boston Globe"Genius." --Vogue"Hilarious, irreverent, and no-nonsense." --Bustle

    Her compelling and demanding collection The Death of Adam—in which she reflected on her Presbyterian upbringing, investigated the roots of Midwestern abolitionism, and mounted a memorable defense of Calvinism—is respected as a classic of the genre, praised by Doris Lessing as “a useful antidote to the increasingly crude and slogan-loving culture we inhabit.” In this new collection she returns to the themes which have preoccupied her work: the role of faith in modern life, the inadequacy of fact, the contradictions inherent in human nature. Clear-eyed and forceful as ever, Robinson demonstrates once again why she is regarded as a modern rhetorical master.

    After his death -- a calamity that claimed her favorite person--she returned to that beloved novel as a way of wrestling with his memory and understanding her own grief.Smyth's story moves between the New England of her childhood and Woolf's Cornish shores and Bloomsbury squares, exploring universal questions about family, loss, and homecoming. Through her inventive, highly personal reading of To the Lighthouse, and her artful adaptation of its groundbreaking structure, Smyth guides us toward a new vision of Woolf's most demanding and rewarding novel--and crafts an elegant reminder of literature's ability to clarify and console.Braiding memoir, literary criticism, and biography, All the Lives We Ever Lived is a wholly original debut: a love letter from a daughter to her father, and from a reader to her most cherished author.

    Spanning decades and continents, subjects range from the opulent Hope Diamond to the humble Busy Stoop chair.They're lurking in museums, graveyards, and private homes around the world. Their stories have inspired countless horror movies, reality TV shows, campfire tales, books, and even chain emails. They're cursed objects, and in order to unleash a wave of misfortune, all they need...is you. As a culture, we can't seem to get enough of cursed objects. But never before have the true stories of these infamous real-life items been compiled into a fascinating and chilling volume.Entries include: • Annabelle the Doll, a Raggedy Ann doll which inspired the acclaimed horror franchise The Conjuring • The Tomb of Tutankhamen, the discovery of which kicked-started media hysteria over a rumored "Curse of the Pharaohs" • The Ring of Silvianus, a Roman artifact believed to have inspired J. R. R. Tolkien's The Hobbit • The Hope Diamond, which was owned by kings and inspired the Heart of the Ocean in James Cameron's Titanic • The Dybbuk Box, which was sold on eBay and inspired the horror film The PossessionWhether you believe in curses or not, the often tragic and always bizarre stories behind these objects will fascinate you. Many of them have intersected with some of the most notable events and people in history. But beyond Hollywood and beyond the hysteria, author J. W. Ocker suggests that cursed objects are simply objects which have been witness to great human tragedy, and thereafter operate as mechanisms for remembering and retelling those stories. Cursed Objects will be equally appealing to true believers as well as history buffs, horror fans, and anyone who loves a good spine-tingling tale.

    She was an intern at twenty-nine and met her husband on Tinder in her late thirties, after many of her friends had already gotten married, started families, and entered couples’ counseling. After a long fertility struggle, she became a first-time mom at forty-one, joining Mommy & Me classes where most of the other moms were at least ten years younger. And while she was one of Gawker’s early hires and one of the first editors at BuzzFeed, she didn’t find professional fulfillment until she co-launched the successful self-care podcast Forever35—at forty. Now, in her debut memoir, Shafrir explores the enormous pressures we feel, especially as women, to hit particular milestones at certain times and how we can redefine what it means to be a late bloomer. She writes about everything from dating to infertility, to how friendships evolve as you get older, to why being pregnant at forty-one is unexpectedly freeing—all with the goal of appreciating the lives we’ve lived so far and the lives we still hope to live. Thanks for Waiting is about how achieving the milestones you thought were so important don’t always happen on the time line you imagined. In a world of 30 Under 30 lists, this book is a welcome reminder that it’s okay to live life at your own speed.

    With a sharp sense of humor and boundless enthusiasm for the wonders of our ancient ancestors, Who Ate the First Oyster? profiles the perpetrators of the greatest firsts and catastrophes of prehistory, using the lives of individuals to provide a glimpse into ancient cultures, show how and why these critical developments occurred, and educate us on a period of time that until recently we've known almost nothing about.

    Dutifully absorbing all the conflicting information the culture has to offer on how to be a woman, Chocano grappled with sexed-up sidekicks, princesses waiting to be saved, and morally infallible angels who seemed to have no opinions of their own. She learned that "the girl" is not a person, but a man's idea of what a woman should be—she’s whatever the hero needs her to be in order to become himself. It wasn't until she spent five years as a movie critic and was laid off just after her daughter was born that she really came to understand how the stories the culture tells us about what it means to be female limit our lives and shape our destinies. She resolved to rewrite her own story.In You Play the Girl, Chocano blends formative personal stories with insightful and emotionally powerful analysis. Moving from Bugs Bunny to Playboy Bunnies, from Flashdance to "Frozen," from the progressive ’70s through the backlash ’80s, the glib ’90s, and the pornified aughts—and at stops in between—she explains how growing up in the shadow of “the girl” taught her to think about herself and the world and what it means to raise a daughter in the face of these contorted reflections. In the tradition of Roxane Gay, Rebecca Solnit, and Susan Sontag, Chocano brilliantly shows that our identities are more fluid than we think, and certainly more complex than anything we see on any kind of screen.

    She startles awake, saying his name. It is always about him: one of her closest high school friends, a boy named Mark. A boy who raped her.When her nightmares worsen, Jeannie decides—after fourteen years of silence—to reach out to Mark. He agrees to talk on the record and meet in person. "It's the least I can do," he says.Jeannie details her friendship with Mark before and after the assault, asking the brave and urgent question: Is it possible for a good person to commit a terrible act? Jeannie interviews Mark, exploring how rape has impacted his life as well as her own. She examines the language surrounding sexual assault and pushes against its confines, contributing to and deepening the #MeToo discussion.Exacting and courageous, Things We Didn't Talk About When I Was a Girl is part memoir, part true crime record, and part testament to the strength of female friendships—a recounting and reckoning that will inspire us to ask harder questions and interrogate our biases. Jeannie Vanasco examines and dismantles long-held myths of victimhood, discovering grace and power in this genre-bending investigation into the trauma of sexual violence.

    Now comes a gripping account of the doctors and scientists fighting to protect us, an urgent wake-up call about the future of emerging viruses—from the #1 bestselling author of The Hot Zone, soon to be a National Geographic original miniseries.This time, Ebola started with a two-year-old child who likely had contact with a wild creature and whose entire family quickly fell ill and died. The ensuing global drama activated health professionals in North America, Europe, and Africa in a desperate race against time to contain the viral wildfire. By the end—as the virus mutated into its deadliest form, and spread farther and faster than ever before—30,000 people would be infected, and the dead would be spread across eight countries on three continents.In this taut and suspenseful medical drama, Richard Preston deeply chronicles the outbreak, in which we saw for the first time the specter of Ebola jumping continents, crossing the Atlantic, and infecting people in America. Rich in characters and conflict—physical, emotional, and ethical—Crisis in the Red Zone is an immersion in one of the great public health calamities of our time.Preston writes of doctors and nurses in the field putting their own lives on the line, of government bureaucrats and NGO administrators moving, often fitfully, to try to contain the outbreak, and of pharmaceutical companies racing to develop drugs to combat the virus. He also explores the charged ethical dilemma over who should and did receive the rare doses of an experimental treatment when they became available at the peak of the disaster. Crisis in the Red Zone makes clear that the outbreak of 2013–2014 is a harbinger of further, more severe outbreaks, and of emerging viruses heretofore unimagined—in any country, on any continent. In our ever more interconnected world, with roads and towns cut deep into the jungles of equatorial Africa, viruses both familiar and undiscovered are being unleashed into more densely populated areas than ever before.The more we discover about the virosphere, the more we realize its deadly potential. Crisis in the Red Zone is an exquisitely timely book, a stark warning of viral outbreaks to come.

    The collection will include pre-published essays that have gone viral, like “The White Industrial Savior Complex,” first published in The Atlantic.

    For over 100 years the community orbited around a paper mill that employs most townspeople, including three generations of Arsenault’s own family. Years after she moved away, Arsenault realized the price she paid for her seemingly secure childhood. The mill, while providing livelihoods for nearly everyone, also contributed to the destruction of the environment and the decline of the town’s economic, physical, and emotional health in a slow-moving catastrophe, earning the area the nickname “Cancer Valley.” Mill Town is an personal investigation, where Arsenault sifts through historical archives and scientific reports, talks to family and neighbors, and examines her own childhood to illuminate the rise and collapse of the working-class, the hazards of loving and leaving home, and the ambiguous nature of toxics and disease. Mill Town is a moral wake-up call that asks, Whose lives are we willing to sacrifice for our own survival?