The story of Sackville-West's marriage to Harold Nicolson is one of intrigue and bewilderment. In Portrait of a Marriage, their son Nigel combines his mother's memoir with his own explanations and what he learned from their many letters. Even during her various love affairs with women, Vita maintained a loving marriage with Harold. Portrait of a Marriage presents an often misunderstood but always fascinating couple.

    Tireless in her quest and assisted by generous, far-flung strangers, Morgan discovered not only a treasury of world literature but also the keys to unlock it. Whether considering the difficulties faced by writers in developing nations, movingly illustrated by Burundian Marie-Thérese Toyi's Weep Not, Refugee; tracing the use of local myths in the fantastically successful Samoan YA series Telesa; delving into questions of censorship and propaganda while sourcing a title from North Korea; or simply getting hold of The Corsair, the first Qatari novel to be translated into English, Morgan illuminates with wit, warmth, and insight how stories are written the world over and how place-geographical, historical, virtual-shapes the books we read and write.

    Hanff recalls her serendipitous discovery of a volume of lectures by a Cambridge don, Sir Arthur Quiller-Couch. She devoured Q’s book, and, wanting to read all the books he recommended, began to order them from a small store in London, at 84, Charing Cross Road. Thus began a correspondence that became an enormously popular book, play and television production, and that finally led to the trip to England – and a visit to Q’s study – that she recounts here. In this exuberant memoir, Hanff pays her debt to her mentor and shares her joyous adventures with her many fans.

    Some of the lessons she imparts are surprising, as when she argues, against other historians, that the female camp guards were far more humane than their male counterparts, and when she admits that she has difficulty today queuing in line, a constant of camp life, "out of revulsion for the bovine activity of simply standing." Her memories of her youth are punctuated by sharp reflections on the meaning of the Shoah, and how it should best be memorialized in a time when ever fewer survivors are left to act as witnesses. Those reflections are often angry -- "Absolutely nothing good came out of the concentration camps," she writes, recalling an argument with a naive German graduate student, "and he expects catharsis, purgation, the sort of thing you go to the theatre for?"But they are constantly provocative, too. Though readers will doubtless take issue with some of her conclusions, Kluger's insistent memoir merits a wide audience. --Gregory McNamee

    On the page facing each letter, an illustration by a celebrated illustrator or graphic artist presents that artist's visual response.Among the diverse contributions are letters from Jane Goodall, Neil Gaiman, Jerome Bruner, Shonda Rhimes, Ursula K. Le Guin, Yo-Yo Ma, Judy Blume, Lena Dunham, Elizabeth Gilbert, and Jacqueline Woodson, as well as a ninety-eight-year-old Holocaust survivor, a pioneering oceanographer, and Italy’s first woman in space. Some of the illustrators, cartoonists, and graphic designers involved are Marianne Dubuc, Sean Qualls, Oliver Jeffers, Maira Kalman, Mo Willems, Isabelle Arsenault, Chris Ware, Liniers, Shaun Tan, Tomi Ungerer, and Art Spiegelman.  This project is woven entirely of goodwill, generosity of spirit, and a shared love of books. Everyone involved has donated their time, and all profits will go to the New York Public Library systems.Preface by David Remnick, editor, The New Yorker; Edited and introduced by Maria Popova, who has been writing since 2006 about what she reads on Brain Pickings (brainpickings.org), which is now included in the Library of Congress archive of culturally valuable materials; Edited by Claudia Bedrick, publisher, editorial and art director of Enchanted Lion Books.

    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.

    His insider observations are set down with passion, with outrage, and almost unbearable sadness.

    This revised and updated edition includes new material from the author, including more recent diaries and his introduction to his Oscar-nominated screenplay for The Madness of King George. A chronicle of one of the most important literary careers of the twentieth century, Writing Home is a classic history of a life in letters.

    Patricia Hampl visits the homes of historic exemplars of ease who made repose a goal, even an art form. She begins with two celebrated eighteenth-century Irish ladies who ran off to live a life of "retirement" in rural Wales. Her search then leads to Moravia to consider the monk-geneticist, Gregor Mendel, and finally to Bordeaux for Michel Montaigne—the hero of this book—who retreated from court life to sit in his chateau tower and write about whatever passed through his mind, thus inventing the personal essay.Hampl's own life winds through these pilgrimages, from childhood days lazing under a neighbor's beechnut tree, to a fascination with monastic life, and then to love—and the loss of that love which forms this book's silver thread of inquiry. Finally, a remembered journey down the Mississippi near home in an old cabin cruiser with her husband turns out, after all her international quests, to be the great adventure of her life.The real job of being human, Hampl finds, is getting lost in thought, something only leisure can provide. The Art of the Wasted Day is a compelling celebration of the purpose and appeal of letting go.

    Inspired by her example, Beha vows to read the entire Five-Foot Shelf, one volume a week, over the course of the next year. As he passes from St. Augustine's Confessions to Don Quixote, from Richard Henry Dana's Two Years Before the Mast to essays by Cicero, Emerson, and Thoreau, he takes solace in the realization that many of the authors are grappling with the same questions he faces: What is the purpose of life? How do we live a good life? What can the wisdom of the past teach us about our own challenges? Beha's chronicle is a smart, big-hearted, and inspirational mix of memoir and intellectual excursion—and a powerful testament to what great books can teach us about how to live our own lives.

    And the world is changed..." One of the judges who awarded him the 2011 Man Booker Prize described him as "an unparalleled magus of the heart." This book confirms that opinion.

    Ricks, a dual biography of Winston Churchill and George Orwell, whose farsighted vision and inspired action preserved democracy from the threats of authoritarianism, from the left and right alike.Both George Orwell and Winston Churchill came close to death in the mid-1930s—Orwell shot in the neck in a trench line in the Spanish Civil War, and Churchill struck by a car in New York City. If they'd died then, history would scarcely remember them. At the time, Churchill was a politician on the outs, his loyalty to his class and party suspect. Orwell was a mildly successful novelist, to put it generously. No one would have predicted that by the end of the 20th century they would be considered two of the most important people in British history for having the vision and courage to campaign tirelessly, in words and deeds, against the totalitarian threat from both the left and the right. In a crucial moment, they responded first by seeking the facts of the matter, seeing through the lies and obfuscations, and then acting on their beliefs. Together, to an extent not sufficiently appreciated, they kept the West's compass set toward freedom as its due north.It's not easy to recall now how lonely a position both men once occupied. By the late 1930s, democracy was discredited in many circles and authoritarian rulers were everywhere in the ascent. There were some who decried the scourge of communism, but saw in Hitler and Mussolini men we could do business with, if not in fact saviors. And there were others who saw the Nazi and fascist threat as malign but tended to view communism as the path to salvation. Churchill and Orwell, on the other hand, had the foresight to see clearly that the issue was human freedom—that whatever its coloration, a government that denied its people basic freedoms was a totalitarian menace and had to be resisted.In the end, Churchill and Orwell proved their age's necessary men. The glorious climax of Churchill and Orwell is the work they both did in the decade of the 1940s to triumph over freedom's enemies. And though Churchill played the larger role in the defeat of Hitler and the Axis, Orwell's reckoning with the menace of authoritarian rule in Animal Farm and 1984 would define the stakes of the Cold War for its 50-year course and continues to give inspiration to fighters for freedom to this day. Taken together, in Thomas E. Ricks' masterful hands, their lives are a beautiful testament to the power of moral conviction and to the courage it can take to stay true to it, through thick and thin.

    Childhood tells the story of a misfit child's single-minded determination to become a poet; Youth describes her early experiences of sex, work, and independence. Dependency picks up the story as the narrator embarks on the first of her four marriages and goes on to describe her horrible descent into drug addiction, enabled by her sinister, gaslighting doctor-husband.Throughout, the narrator grapples with the tension between her vocation as a writer and her competing roles as daughter, wife, mother, and drug addict, and she writes about female experience and identity in a way that feels very fresh and pertinent to today's discussions around feminism. Ditlevsen's trilogy is remarkable for its intensity and its immersive depiction of a world of complex female friendships, family and growing up--in this sense, it's Copenhagen's answer to Elena Ferrante's Neapolitan Novels. She can also be seen as a spiritual forerunner of confessional writers like Karl Ove Knausgaard, Annie Ernaux, Rachel Cusk and Deborah Levy. Her trilogy is drawn from her own experiences but reads like the most compelling kind of fiction.Born in a working-class neighborhood in Copenhagen in 1917, Ditlevsen became famous for her poetry while still a teenager, and went on to write novels, stories and memoirs before committing suicide in 1976. Having been dismissed by the critical establishment in her lifetime as a working-class, female writer, she is now being rediscovered and championed as one of Denmark's most important modern authors, with Tove fever gripping readers.

    Recounts how the author, an Austrian, escaped from an English internment camp in India in 1943 and spent the next seven years in Tibet, observing its social practices, religion, politics, and people.

    Lynch responds to each recollection and reveals the inner story of the life behind the art.