In Why We Need Love, Simon Van Booy curates an enlightening collection of excerpts, passages, and paintings, presenting works by Geoffrey Chaucer, William Shakespeare, John Donne, William Blake, George Eliot, Emily Dickinson, O. Henry, W. B. Yeats, James Joyce, E. E. Cummings, Anaïs Nin, Marc Chagall, J. Krishnamurti, and others.Provocative and eye-opening, Why We Need Love is one of three slim selections of philosophical texts and excerpts—along with Why We Fight and Why Our Decisions Don’t Matter—introduced and contextualized by acclaimed author Simon Van Booy (Love Begins in Winter, The Secret Lives of People in Love).

    In MILLENNIUM, Hakim Bey both sustains and expands the ideas of his groundbreaking work, THE TEMPORARY AUTONOMOUS ZONE. Here, Bey suggests that mere detachment from (or even outright rejection of) the monolith of global capital is not enough; that either we accept ourselves as the 'last humans,' or else we accept ourselves as the opposition. The book also contains an illuminating interview with Bey, in which he discusses his body of work and assesses our collective position at the turn of the millennium.

    They told her that she had the worst case they’d ever seen of a rare Scandinavian disease called celiac. At first, this diagnosis – and its requirement of total adherence to a gluten-free diet – seemed like the simple answer to a lifetime of strange symptoms including anemia, insomnia, pneumonia, mouth ulcers, missed periods, and neck pain so severe that for months preceding the diagnosis she hadn’t been able to turn her head. But even on the diet – and as glutenphobia erupted in this country, with nearly a third of Americans avoiding gluten —Abel still didn’t feel well. When doctors, nutritionists, and websites all offered contradicting information on gluten and diet, she began to panic. How would she know what to eat? In this powerful, wide-ranging and emotional story about the limits of medical knowledge, Abel discovers why she wasn’t diagnosed with celiac as a child. She considers how environmental fears and Internet anecdotes lead people to avoid gluten. And she grapples with the question that confronts us all: how to live calmly, even joyfully, in the face of uncertainty. Heather Abel worked as a reporter and news editor in Colorado and San Francisco and taught creative writing at the New School University and UMass Amherst. She lives with her family in western Massachusetts where she is finishing her first novel.

    

    Their father, a Ted Hughes scholar and scruffy romantic, imagines a future of well-meaning visitors and emptiness.In this moment of despair they are visited by Crow - antagonist, trickster, healer, babysitter. This self-described sentimental bird is attracted to the grieving family and threatens to stay until they no longer need him. As weeks turn to months and physical pain of loss gives way to memories, this little unit of three begin to heal.In this extraordinary debut - part novella, part polyphonic fable, part essay on grief, Max Porter's compassion and bravura style combine to dazzling effect. Full of unexpected humour and profound emotional truth, Grief is the Thing with Feathers marks the arrival of a thrilling new talent.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    Replacing the slim volume which introduced Stevie Smith to American readers, New Selected Poems is chronologically arranged and contains 165 poems along with many of the author's doodles.

    This edition also includes Sinclair's series of texts on the mythology of place called Suicide Bridge.

    Picasso, as she calls herself, is a young artist who has been sexually abused by her brother but whose family thinks she is at fault for her dark moods. Sappho is, indeed, Sappho, the lesbian poet of ancient Greece, who here proclaims herself a sensualist and then proceeds to dissect "the union of language and lust." The three converge in a place that may be England in a not-too-distant future made ugly by pollution and even uglier by greed. This is not a novel but an extended rift on art, sex, religion, social repression, the dangers of patriarchy, and everything that is wrong with the contemporary drift to the right. As such, it will be hard going for most readers, but those with some patience will discover exceptionally evocative writing and a vivifying review of some much-discussed contemporary issues.

    Written to be read during the mind-bogglingly short breaks parents get during their busy days, these pieces will help moms find solace in a wide range of viewpoints and issues not often discussed in mainstream magazines and other parenting books. From dealing with rage to negotiating sleeping arrangements to the frustration and joy of parenting a special needs child, this is the perfect read for the hip but harried mother that says "you are still you."

    In this sordid and hilarious tale of whopping academic grants, sleeping on the job, sexual confusion and consenting adults, terrifying departmental secretaries, surprise impregnations and alcoholic lecturers we might conclude that most people are just not cut out for university life.

    Beauty/Beauty is a book with tenderness running through its veins, exploring salvation, reparation, and the fullness of being alive; the difficulty of defining what love is, the heartbreak, the faraway friends, the overwhelming abundance of things in museums. It is alive with memories, with old loves hanging around in the corners of dark rooms, ghost mouths hidden inside the mouth you are kissing, and eulogies to dearly departed pets. Each poem creates its own tiny world to be lived in and explored; a stegosaurus is adored, a million silver spiders play dead, a list of flowers is not really a list of flowers, adorable dogs want to be friends, the flightless grow wings, and the stars turn green.

    By analyzing four examples of escape artists—a young girl who hides from others by closing her eyes; a grown man incapable of a relationship; Emily Dickinson, recluse extraordinaire; and Harry Houdini, the quintessential master of escape—Phillips enables readers to identify the escape artists lurking within themselves. Lucid, erudite, and audacious, Houdini's Box is another scintillating and seminal work by one of the world's most dazzlingly original thinkers.

    We cannot quote Shakespeare to describe a headache. We must, Woolf says, invent language to describe pain. And though illness enhances our perceptions, she observes that it reduces self-consciousness; it is "the great confessional." Woolf discusses the cultural taboos associated with illness and explores how illness changes the way we read. Poems clarify and astonish, Shakespeare exudes new brilliance, and so does melodramatic fiction!On Being Ill was published as an individual volume by Hogarth Press in 1930. While other Woolf essays, such as A Room of One’s Own and Three Guineas, were first published by Hogarth as individual volumes and have since been widely available, On Being Ill has been overlooked. The Paris Press edition features original cover art by Woolf’s sister, the painter Vanessa Bell. Hermione Lee’s Introduction discusses this extraordinary work, and explores Woolf’s revelations about poetry, language, and illness.

    A few of the things which cross the path and mind of its narrator (who both is and is not Sebald) are lonely eccentrics, Sir Thomas Browne's skull, a matchstick model of the Temple of Jerusalem, recession-hit seaside towns, wooded hills, Joseph Conrad, Rembrandt's "Anatomy Lesson," the natural history of the herring, the massive bombings of WWII, the dowager empress Tzu Hsi, and the silk industry in Norwich.