Here, in brief essays, she traces a tender and honest portrait of her complicated parents--her exuberant, creative mother; her steady, supportive father--and of the bittersweet moments that accompany a child's transition to caregiver.And here, braided into the overall narrative, Renkl offers observations on the world surrounding her suburban Nashville home. Ringing with rapture and heartache, these essays convey the dignity of bluebirds and rat snakes, monarch butterflies and native bees. As these two threads haunt and harmonize with each other, Renkl suggests that there is astonishment to be found in common things: in what seems ordinary, in what we all share. For in both worlds--the natural one and our own--"the shadow side of love is always loss, and grief is only love's own twin."Illustrated by the author's brother, Billy Renkl, Late Migrations is an assured and memorable debut.

    Here too is a 1976 piece from the New York Times magazine on "Why I Write"; a piece about short stories from New West in 1978; and from The New Yorker, a piece on Hemingway from 1998, and on Martha Stewart from 2000. Each one is classic Didion: incisive, bemused, and stunningly prescient.

    The four men portrayed here have different relationships to their environment, and they encounter each other on mountain trails, in forests and rapids, sometimes with reserve, sometimes with friendliness, sometimes fighting hard across a philosophical divide.

    In this breathtaking, thought-provoking collection, 30 women writers explore the theme in personal essays about neighbors, marriage, kids, sentimental objects, homelessness, domestic violence, solitude, immigration, gentrification, geography, and more. Contributors--including Amanda Petrusich, Naomi Jackson, Jane Wong, and Jennifer Finney Boylan--lend a diverse range of voices to this subject that remains at the core of our national conversations. What makes a home? What do equality, safety, and politics have to do with it? And why is it so important to us to feel like we belong? Engaging, insightful, and full of hope, This is the Place will make you laugh, cry, and think hard about home, wherever you may find it.Here / Kate Lebo --Away from dangerous things / Desiree Cooper --A family business / Jane Wong --Freeing Thanksgiving from my family / Jennifer Finney Boylan --Broken home / Debra Gwartney --On moving home / Kirsten Sundberg Lunstrum --Between my teeth / Naomi Jackson --Allá en la fuente / Lina María Ferreira Cabeza-Vanegas --Home in four acts / Akiko Busch --Plane crash theory / Dani Shapiro --Mother tongue / Jennifer De Leon --The privilege button / Maya Jewell Zeller --Some notes on our cyclical nature / Sarah Viren --Subjunctive / Naima Coster --Cold, comfort / Miranda Weiss --Vesica piscis / Leigh Newman --The explorer / Tara Conklin --Annotating the first page of the first Navajo-English dictionary / Danielle Geller --The stars remain / Claudia Castro Luna --The leaving season / Kelly McMasters --In the kitchen / Margot Kahn --Of Pallu and Pottu / Hasanthika Sirisena --Nuclear family / Amanda Petrusich --Keeping my fossil fuel in the ground / Terry Tempest Williams --Sea home / KaiLea Wallin --Size matters / Sonya Chung --The sound of horse teeth on hay in the snow / Pam Houston --Undergraduate admissions essay draft / Elissa Washuta --Inheritance / Elisabeth Eaves --We carried ourselves like villagers / Catina Bacote

    There, the local swimming pool became her first body of water. Through her life there have been others that have meant different things, but have still been, in their own way, home: from the wild coastline of New Zealand to a pond in northwest London.This lyrical collection of interconnected essays explores the bodies of water that separate and connect us, as well as everything from migration, food, family, earthquakes and the ancient lunisolar calendar to butterflies. In powerful prose, Small Bodies of Water weaves together personal memories, dreams and nature writing. It reflects on a girlhood spent growing up between two cultures, and explores what it means to belong.

    A retired English professor who began writing fiction at the age of 70, Maclean produced what is now recognized as one of the classic American stories of the twentieth century. Originally published in 1976, A River Runs through It and Other Stories now celebrates its twenty-fifth anniversary, marked by this new edition that includes a foreword by Annie Proulx.Maclean grew up in the western Rocky Mountains in the first decades of the twentieth century. As a young man he worked many summers in logging camps and for the United States Forest Service. The two novellas and short story in this collection are based on his own experiences—the experiences of a young man who found that life was only a step from art in its structures and beauty. The beauty he found was in reality, and so he leaves a careful record of what it was like to work in the woods when it was still a world of horse and hand and foot, without power saws, "cats," or four-wheel drives. Populated with drunks, loggers, card sharks, and whores, and set in the small towns and surrounding trout streams and mountains of western Montana, the stories concern themselves with the complexities of fly fishing, logging, fighting forest fires, playing cribbage, and being a husband, a son, and a father.

    Trading in her home for canvas roof and wheels, Mary, her husband, and their three children set out on the arduous trek westward to California.Shortly into their travels west, it became painfully obvious that Doctor Powers was simply not up to the task of making sure his family "outlasted the trail." Mary had to step in and become the head of the household with its canvas roof and wheels--leaving behind her ideals of femininity along with her beloved possessions.In Outlasting the Trail author Mary Barymeyer O'Brien uses the letters Mary Rockwood Powers wrote to her mother and sister back home as a stepping off point to further illuminate this remarkable woman's story. Based on the dramatic struggle a real family, this novel brings to life a fascinating slice of American history.

    Blending keen observations of flora, geography, and geology, the natural forces that shape the landscape, and the changing seasons, Muir paints a timeless portrait of the wilderness he called “the Range of Light, the most divinely beautiful of all the mountain chains I have ever seen.” Also included are visits to two famous Cascades peaks, Mount Shasta and Mount St. Helens

    Down, down he leads us, in intoxicating, nearly hallucinogenic prose-past the Yaqui, the Anasazi, and other ghosts of our collective history, past the hookers, winos, and assorted have-nots outside the prosperous circle by the fire. We meet a prisoner obsessed with painting presidents, sex offenders whose desires are not as alien as we wish, a murderer whose execution does not cure what ails us. I wound up looking at a world where cannibalism is life, Bowden writes, and of course, given the diet, a life without a future. He mourns a young artist who couldn't find a reason to keep living and tends a mesquite tree that won't die. And down among its metaphoric roots, he reacquaints us with the appetites-fierce, flawed, human-that might save us too. Blues for Cannibals is scripture for an age when bushes no longer burn.

    For Fadiman, as for many passionate readers, the books she loves have become chapters in her own life story. Writing with remarkable grace, she revives the tradition of the well-crafted personal essay, moving easily from anecdotes about Coleridge and Orwell to tales of her own pathologically literary family. As someone who played at blocks with her father's 22-volume set of Trollope ("My Ancestral Castles") and who only really considered herself married when she and her husband had merged collections ("Marrying Libraries"), she is exquisitely well equipped to expand upon the art of inscriptions, the perverse pleasures of compulsive proof-reading, the allure of long words, and the satisfactions of reading out loud. There is even a foray into pure literary gluttony: Charles Lamb liked buttered muffin crumbs between the leaves, and Fadiman knows of more than one reader who literally consumes page corners. Perfectly balanced between humor and erudition, Ex Libris establishes Fadiman as one of our finest contemporary essayists.

    A bold foray into the heart of the American West’s final frontier, the expedition was achieved without benefit of modern river-running equipment, supplies, or a firm sense of the region’s perilous topography and the attitudes of the native inhabitants towards whites.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    Here we go again with real life and opinions made to look like one big, preposterous animal not unlike an invention by Dr. Seuss...--Kurt Vonnegut, from Fates Worse Than Death

    A Field Guide to Getting Lost draws on emblematic moments and relationships in Solnit's own life to explore the issues of wandering, being lost, and the uses of the unknown. The result is a distinctive, stimulating, and poignant voyage of discovery.

    She had a play that was to be produced at the New York International Fringe Festival and a job waiting for her at the New Yorker. Tragically, five days after graduation, Marina died in a car crash.As her family, friends, and classmates, deep in grief, joined to create a memorial service for Marina, her unforgettable last essay for the Yale Daily News, “The Opposite of Loneliness,” went viral, receiving more than 1.4 million hits. She had struck a chord.Even though she was just twenty-two when she died, Marina left behind a rich, expansive trove of prose that, like her title essay, captures the hope, uncertainty, and possibility of her generation. The Opposite of Loneliness is an assem­blage of Marina’s essays and stories that, like The Last Lecture, articulates the universal struggle that all of us face as we figure out what we aspire to be and how we can harness our talents to make an impact on the world.

    It is divided into three parts: the first is introduced by a powerful prayer for the dead of 9/11; the second by a searching meditation on Martin Luther King Jr., and the last by a heart-wrenching eulogy for James Baldwin. In the writings and speeches included here, Morrison takes on contested social issues: the foreigner, female empowerment, the press, money, "black matter(s)," and human rights. She looks at enduring matters of culture: the role of the artist in society, the literary imagination, the Afro-American presence in American literature, and in her Nobel lecture, the power of language itself. And here too is piercing commentary on her own work (including The Bluest Eye, Sula, Tar Baby, Jazz, Beloved, and Paradise) and that of others, among them, painter and collagist Romare Bearden, author Toni Cade Bambara, and theater director Peter Sellars. In all, The Source of Self-Regard is a luminous and essential addition to Toni Morrison's oeuvre.