Peppered with dark humour, this book tells Tommy's story from fending for himself as the runt of a big Catholic litter in the 1960s to driving for a deluded billionaire madman and then gun-toting Mexicans in the 1990s.

    This is true of many (if not all) top sportsman, one way or another, but in Villeneuve's case it is hard to escape the conclusion that he was a natural, both in the sense that he was naturally gifted as a driver; and that bits of his personality were defective, or had simply gone missing.A white-knuckle drive through the bends, straights, chicanes, and pit stops of Formula One's checkered history, this is the fast and dangerous story of motor sport's premier competition. It explores the lost world of the 1950s racetrack, the irresistible rise of British constructors in the 1960s, the impact of technological changes from the late 1970s, the advent of the high-profile team boss in the 1980s, and the revolution wrought on the sport by computers in the 1990s. Throughout, there are memorable profiles of the drivers who have risked life and limb on circuits from Monte Carlo to Monza—the ebullient Stirling Moss, the champagne-gargling James Hunt, the cerebral Prost and the mercurial Senna (whose combined brilliance was exceeded only by their mutual loathing), the adenoidal Nigel Mansell, the metronomic Michael Schumacher, the precocious Lewis Hamilton, and the reborn Jenson Button.

    In the title poem, Bly addresses the "donkey"—possibly poetry itself—that has carried him through a writing life of more than six decades.from "Talking into the Ear of a Donkey"      "What has happened to the spring,"      I cry, "and our legs that were so joyful      In the bobblings of April?" "Oh, never mind      About all that," the donkey      Says. "Just take hold of my mane, so you      Can lift your lips closer to my hairy ears."

    

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    He provides a proven program for following your heart without losing your sanity.

     Suzanne and Gertrude is a tale of intermittent griefs and wonderments. How do we live, not just with each other, but with memories, with impermanence, with the inevitable melancholy of being?   Suzanne and Gertrude is a spare novel with a profound impact.

    With the pacing and vivid description of a novel, THE LIMIT charts the journey that brought Hill from dusty California lots racing midget cars into the ranks of a singular breed of men, competing with daredevils for glory on Grand Prix tracks across Europe. Facing death at every turn, these men rounded circuits at well over 150 mph in an era before seat belts or roll bars-an era when drivers were "crushed, burned, and beheaded with unnerving regularity." From the stink of grease-smothered pits to the long anxious nights in lonely European hotels, from the tense camaraderie of teammates to the trembling suspense of photo finishes, THE LIMIT captures the 1961 season that would mark the high point of Hill's career. It brings readers up close to the remarkable men who surrounded Hill on the circuit-men like Hill's teammate and rival, the soigné and cool-headed German count Wolfgang Von Trips (nicknamed "Count Von Crash"), and Enzo Ferrari, the reclusive and monomaniacal padrone of the Ferrari racing empire. Race by race, THE LIMIT carries readers to its riveting and startling climax-the final contest that would decide it all, one of the deadliest in Grand Prix history.

    He got his breakthrough into Formula One in the tragic circumstances of Ayrton Senna's death in 1994, and quickly established himself as one of the best drivers on the circuit. From 1996-2004, he drove for McLaren, one of the leading teams throughout the entire period, before moving to Red Bull for 2005-07. Taking the reader from his early days when he first became hooked on racing karts at the age of 11, through to the high-speed world of Formula One he now inhabits, Coulthard has written one of the most honest and powerful sports autobiographies of recent years. In the book, he talks about his ups and downs at McLaren, the reputation he gained for his playboy lifestyle and how hard this has made it for him to settle down. Throughout it all he seeks to answer the questions about himself that anyone might ask, and so to reveal what it is that really drives him on. His struggle to understand himself makes for a remarkable memoir.

    In “Plays With Cars,” the former Porsche manager covers some of his most ridiculous decisions, like buying an old Land Rover sight unseen, taking a Mercedes AMG station wagon to a rural Georgia dragstrip, and roadtripping across the United States in a Lotus Elise without air conditioning. He’s also reviewed his former cars, which range from a Mercedes G-wagen to a Nissan Cube. Most importantly, he wrote this entire description himself in the third person.

    1932) has become known as the principal voice of American countercultural fiction. His cult celebrity was further solidified by the success of Even Cowgirls Get the Blues (1976) and Still Life With Woodpecker (1980). Robbins's mix of vivid language, ribald humor, philosophical musings, controversial commentary on religion and sexuality, and concentration on female protagonists and feminine consciousness has marked almost all of his fiction, as well as his short writings.Despite his undeserved reputation as 1960s hippie icon, all of Robbins's work remains popular and in print, and his later novels--including Jitterbug Perfume (1984), Skinny Legs and All (1990), Half Asleep in Frog Pajamas (1994), Fierce Invalids Home From Hot Climates(2000), Villa Incognito (2003), and B Is for Beer (2009)--engage thoroughly with current politics, mores, and trends.Conversations with Tom Robbins brings together more than twenty interviews with the acclaimed author, from the mid-1970s to the present. Throughout the volume, Robbins discusses his working methods, his fusion of Eastern and Western philosophical traditions, the need for wit and humor in serious fiction, and the ways living in the Pacific Northwest has fueled his work.

    Matthew Bannister said he was going to reinvent the station, the most popular in Europe. But things didn't go exactly to plan. The station lost millions of listeners. Its most famous DJs left, and their replacements proved to be disasters. Radio 1's commercial rivals regarded the internal turmoil with glee. For a while a saviour arrived, in the shape of Chris Evans. But his behaviour caused further upheavals, and his eventual departure provoked another mass desertion by listeners. What was to be done? In the middle of this crisis, Radio 1 bravely (or foolishly) allowed the writer Simon Garfield to observe its workings from the inside. For a year he was allowed unprecedented access to management meetings and to DJs in their studios, to research briefings and playlist conferences. Everyone interviewed spoke in passionate detail about their struggle to make their station credible and successful once more. The result is a gripping and often hilarious portrait a much loved national institution as it battles back from the brink of calamity.

    Or read this book and find out how you have all the tools you need, but must make the one change to become the writer you have always wanted to be.

    He chronicles Senna's entire story, from the wealthy childhood in Brazil to his fatal crash in 1994. It is a fast-moving and comprehensive account of an extraordinary life that will appeal to the wider public as well as to Senna fans.

    Sometimes we tell these stories to make people laugh. Sometimes we tell them to make people think. Sometimes we tell them so we can increase the chances we'll see the other person naked.Paul Shirley's stories are about an adulthood spent all over the world: living in Spain, playing in the NBA, and having his heart (and spleen) broken. But they're also stories about growing up in small-town Kansas: triumphant spelling bees, catastrophic middle school dances, and a Sex Ed. class taught by his mother.They're funny stories. They're vulnerable stories. Most of all, they're universal stories, just as the stories we tell on dates should be.