Half a decade later, she’s still on the road, in search not so much of a home as of understanding, a way of being in the world that demands neither constant struggle nor complete surrender.           The Dead Ladies Project is an account of that journey—but it’s also much, much more. Fascinated by exile, Crispin travels an itinerary of key locations in its literary map, of places that have drawn writers who needed to break free from their origins and start afresh. As she reflects on William James struggling through despair in Berlin, Nora Barnacle dependant on and dependable for James Joyce in Trieste, Maud Gonne fomenting revolution and fostering myth in Dublin, or Igor Stravinsky starting over from nothing in Switzerland, Crispin interweaves biography, incisive literary analysis, and personal experience into a rich meditation on the complicated interactions of place, personality, and society that can make escape and reinvention such an attractive, even intoxicating proposition.           Personal and profane, funny and fervent, The Dead Ladies Project ranges from the nineteenth century to the present, from historical figures to brand-new hangovers, in search, ultimately, of an answer to a bedrock question: How does a person decide how to live their life?

    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.

    With passion and wit, Mary Oliver skillfully imparts expertise from her long, celebrated career as a disguised poet. She walks readers through exactly how a poem is built, from meter and rhyme, to form and diction, to sound and sense, drawing on poems by Robert Frost, Elizabeth Bishop, and others. This handbook is an invaluable glimpse into Oliver’s prolific mind??—??a must-have for all poetry-lovers.

    Whether you're writing a rags-to-riches tell-all memoir or literary journalism, telling true stories well is hard work. In You Can't Make This Stuff Up, Lee Gutkind, the go-to expert for all things creative nonfiction, offers his unvarnished wisdom to help you craft the best writing possible. Frank, to-the-point, and always entertaining, Gutkind describes and illustrates every aspect of the genre. Invaluable tools and exercises illuminate key steps, from defining a concept and establishing a writing process to the final product. Offering new ways of understanding the genre, this practical guidebook will help you thoroughly expand and stylize your work.

    They opened up new worlds and cast light on all the complexities she encountered in this one.She was whisked away to Narnia – and Kirrin Island – and Wonderland. She ventured down rabbit holes and womble burrows into midnight gardens and chocolate factories. She wandered the countryside with Milly-Molly-Mandy, and played by the tracks with the Railway Children. With Charlotte’s Web she discovered Death and with Judy Blume it was Boys. No wonder she only left the house for her weekly trip to the library or to spend her pocket money on amassing her own at home.In Bookworm, Lucy revisits her childhood reading with wit, love and gratitude. She relives our best-beloved books, their extraordinary creators, and looks at the thousand subtle ways they shape our lives. She also disinters a few forgotten treasures to inspire the next generation of bookworms and set them on their way.Lucy brings the favourite characters of our collective childhoods back to life – prompting endless re-readings, rediscoveries, and, inevitably, fierce debate – and brilliantly uses them to tell her own story, that of a born, and unrepentant, bookworm.

    Early one autumn afternoon in pursuit of an elusive book on her shelves, Susan Hill encountered dozens of others that she had never read, or forgotten she owned, or wanted to read for a second time. The discovery inspired her to embark on a year-long voyage through her books, forsaking new purchases in order to get to know her own collection again. A book which is left on a shelf for a decade is a dead thing, but it is also a chrysalis, packed with the potential to burst into new life. Wandering through her house that day, Hill's eyes were opened to how much of that life was stored in her home, neglected for years. 'Howards End is on the Landing' charts the journey of one of the nation's most accomplished authors as she revisits the conversations, libraries and bookshelves of the past that have informed a lifetime of reading and writing.

    By delving into vivid memories of her traumatic childhood, confessions of self-doubt in her journals, and heartbreaking letters to and from her mother, she gives evidence to all that made it both unlikely and inevitable that she would become a writer. Through spontaneous storytelling, she shows how a fluid fictional state of mind unleashed near-forgotten memories that became the emotional nucleus of her novels. Tan explores shocking truths uncovered by family memorabilia—the real reason behind an IQ test she took at age six, why her parents lied about their education, mysteries surrounding her maternal grandmother—and, for the first time publicly, writes about her complex relationship with her father, who died when she was fifteen. Supplied with candor and characteristic humor, Where the Past Begins takes readers into the idiosyncratic workings of her writer’s mind, a journey that explores memory, imagination, and truth, with fiction serving as both her divining rod and link to meaning.

     We do it in the dark. Under the sheets. With a penlight. We wear sunglasses and a baseball hat at the bookstore. We have a "special place" where we store them. Let's face it: Not many folks are willing to publicly admit they love romance novels. Meanwhile, romance continues to be the bestselling fiction genre. Ever. So what's with all the shame? Sarah Wendell and Candy Tan -- the creators of the wildly popular blog Smart Bitches, Trashy Books -- have no shame! They look at the good, the bad, and the ugly in the world of romance novels and tackle the hard issues and questions: -- The heroine's irresistible Magic Hoo Hoo and the hero's untamable Wang of Mighty Lovin' -- Sexual trends. Simultaneous orgasms. Hymens. And is anal really the new oral? -- Romance novel cover requirements: man titty, camel toe, flowers, long hair, animals, and the O-face -- Are romance novels really candy-coated porn or vehicles by which we understand our sexual and gender politics? With insider advice for writing romances, fun games to discover your inner Viking warrior, and interviews with famous romance authors, Beyond Heaving Bosoms shows that while some romance novels are silly -- maybe even tawdry -- they can also be intelligent, savvy, feminist, and fabulous, just like their readers!

    Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 brilliant female artists in text that's smart, feisty, educational, and an enjoyable read. Replete with beautiful reproductions of the artists' works and contemporary portraits of each artist by renowned illustrator Lisa Congdon, this is art history from 1600 to the present day for the modern art lover, reader, and feminist.

    Goldman opens his long-awaited sequel by writing about his years of exile before he found himself--again--as a valuable writer in Hollywood. Fans of the two-time Oscar-winning writer (Butch Cassidy and the Sundance Kid, All the President's Men) have anxiously waited for this follow-up since his career serpentined into a variety of big hits and critical bombs in the '80s and '90s. Here Goldman scoops on The Princess Bride (his own favorite), Misery, Maverick, Absolute Power, and others. Goldman's conversational style makes him easy to read for the film novice but meaty enough for the detail-oriented pro. His tendency to ramble into other subjects may be maddening (he suddenly switches from being on set with Eastwood to anecdotes about Newman and Garbo), but we can excuse him because of one fact alone: he is so darn entertaining. Like most sequels, Which Lie follows the structure of the original. Both Goldman books have three parts: stories about his movies, a deconstruction of Hollywood (here the focus is on great movie scenes), and a workshop for screenwriters. (The paperback version of the first book also comes with his full-length screenplay of Butch; his collected works are also worth checking out). This final segment is another gift--a toolbox--for the aspiring screenwriter. Goldman takes newspaper clippings and other ideas and asks the reader to diagnose their cinematic possibilities. Goldman also gives us a new screenplay he's written (The Big A), which is analyzed--with brutal honesty--by other top writers. With its juicy facts and valuable sidebars on what makes good screenwriting, this is another entertaining must-read from the man who coined what has to be the most-quoted adage about movie-business success: "Nobody knows anything." --Doug Thomas

    Geographically and culturally boundless, with contributions from Great Britain, Ireland, America, Canada, Australia, India, the Caribbean, and Southern Africa; influenced by great novelists working in other languages; and encompassing a range of genres, the story of the novel in English unfolds like a richly varied landscape that invites exploration rather than a linear journey. In The Novel: A Biography, "Michael Schmidt does full justice to its complexity.Like his hero Ford Madox Ford in The March of Literature," Schmidt chooses as his traveling companions not critics or theorists but "artist practitioners," men and women who feel "hot love" for the books they admire, and fulminate against those they dislike. It is their insights Schmidt cares about. Quoting from the letters, diaries, reviews, and essays of novelists and drawing on their biographies, Schmidt invites us into the creative dialogues between authors and between books, and suggests how these dialogues have shaped the development of the novel in English.Schmidt believes there is something fundamentally subversive about art: he portrays the novel as a liberalizing force and a revolutionary stimulus. But whatever purpose the novel serves in a given era, a work endures not because of its subject, themes, political stance, or social aims but because of its language, its sheer invention, and its resistance to cliche--some irreducible quality that keeps readers coming back to its pages."

    "ALL THAT KID WANTS TO DO is stick his nose in a book, " Michael Dirda's steelworker father used to complain, worried about his son's passion for reading. In An Open Book, one of the most delightful memoirs to emerge in years, the acclaimed literary journalist Michael Dirda re-creates his boyhood in rust-belt Ohio, first in the working-class town of Lorain, then at Oberlin College. In addition to his colorful family and friends, An Open Book also features the great writers and fictional characters who fueled Dirda's imagination: from Green Lantern to Sherlock Holmes, from Candy to Proust. The result is an affectionate homage to small-town America--summer jobs, school fights, sweepstakes contests, and first dates--as well as a paean to what could arguably be called the last great age of reading.

    Baxter highlights hidden treasures along theSeine, treasured markets at Place d’Aligre, the favorite ambles of Ernest Hemingway, Gertrude Stein, and Sylvia Beach, and more, in a series of intimate vignettes that evoke the best parts of Paris’s many charms. Baxter’s unforgettable chronicle reveals how walking is the best way to experience romance, history, and pleasures off the beaten path . . . not only of La Ville-Lumière but also, perhaps, of life itself.

    The constant theme running through these essays is the mysterious process of creativity. Lodge discusses at length the work of writers he particularly admires - Graham Greene, James Joyce, D. H. Lawrence, Henry Green, Kingsley Amis, Vladimir Nabokov, and Anthony Burgess. He addresses the situation of the contemporary novelist, both aesthetically and institutionally, and describes the pleasures of the novelistic text. In delineating the different techniques required to work on a novel and a screenplay, he draws on the experience of adapting his own "Nice Work" and Dickens's "Martin Chuzzlewit" for television, bringing a refreshingly expert candor to the problems that arise between the idea and the performance. The essays conclude with revealing extracts from the diary he kept as his play, "The Writing Game," made its way to the footlights. Lodge's wit and intelligence are evident on every page of this entertaining and instructive volume, which should be of interest both to the practicing writer in any medium and to readers of Lodge who wish to know more about his own art.

    Yet almost nothing in our culture prepares us for reflection on the great themes of existence: courage, friendship, listening, dignity—those everyday virtues that can transform our world. Because AARP believes it’s never too late (or too early) to learn, they, together with Sterling Publishing, have created the About Living series to address these crucial issues. Each entry will be written by only the best authors and thinkers.Thinking About Memoir, the first of these volumes, helps adults look back at their past and use writing as a means of figuring out who they used to be and how they became who they are today. It’s written by Abigail Thomas, whose own memoir A Three Dog Life was selected as one of the Best Books of 2006 by the LA Times and the Washington Post and called “perfectly honed” (Newsweek), “bracingly honest” (Vanity Fair), and “stunning” by the Los Angeles Book Review. Thomas writes that memoir can consist of looking back at a single summer or the span of a whole life. Through her experience as a writing teacher, she knows how difficult that can be; this book is about the habit of writing as a way to keep track of what’s going on in the front and the back of your mind. It inspires different ways for us to look at the moment we’re in right now and will help would-be memoirists find their own “side door” into a subject. Thomas writes eloquently about how to get started and find that jumping-off point for your work, and provides exercises that liberate our creativity, enable us to get the distance and perspective we need, and open our eyes to possibilities that may not at first seem obvious.Whether your words are for publication, for your loved ones, or for you alone, Thomas makes the process fulfilling, thoughtful, and even fun.