In the course of unpacking some of her own stories—of her mother and her decline from memory loss, of a trip to Iceland, of an illness—Solnit revisits fairytales and entertains other stories: about arctic explorers, Che Guevara among the leper colonies, and Mary Shelley’s Dr. Frankenstein, about warmth and coldness, pain and kindness, decay and transformation, making art and making self. Woven together, these stories create a map which charts the boundaries and territories of storytelling, reframing who each of us is and how we might tell our story.

    The anthology combines classic essays of great instructional value together with the most frequently anthologized essays of recent note by today's most highly regarded writers. The selections exhibit a broad range of diversity in subject matter and authorship. All essays have been selected for their utility as both models for writing and for their usefulness as springboards for independent writing. An introductory section informs readers about the qualities of the essay form and offers instruction on how to read essays critically and use the writing process to develop their own essays. For those interested in learning about reading, writing and critical thinking by studying examples of great writing.

    Scott Fitzgerald, Ernest Hemingway, Tennessee Williams, John Berryman, John Cheever, and Raymond Carver. All six of these writers were alcoholics, and the subject of drinking surfaces in some of their finest work, from Cat on a Hot Tin Roof to A Moveable Feast. Often they did their drinking together—Hemingway and Fitzgerald ricocheting through the cafés of 1920s Paris; Carver and Cheever speeding to the liquor store in Iowa in the icy winter of 1973.Olivia Laing grew up in an alcoholic family herself. One spring, wanting to make sense of this ferocious, entangling disease, she took a journey across America that plunged her into the heart of these overlapping lives. As she travels from Cheever's New York to Williams' New Orleans, from Hemingway's Key West to Carver's Port Angeles, she pieces together a topographical map of alcoholism, from the horrors of addiction to the miraculous possibilities of recovery. Beautiful, captivating and original, The Trip to Echo Spring strips away the myth of the alcoholic writer to reveal the terrible price creativity can exert.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    I write poetry... I believe poetry is a primal impulse within all of us. I believe we are all capable of it and furthermore that a small, often ignored corner of us positively yearns to try it. —Stephen Fry, The Ode Less Travelled Stephen Fry believes that if one can speak and read English, one can write poetry. Many of us have never been taught to read or write poetry and think of it as a mysterious and intimidating form. Or, if we have been taught, we remember uncomfortable silence when an English teacher invited the class to "respond" to a poem. In The Ode Less Travelled, Fry sets out to correct this problem by giving aspiring poets the tools and confidence they need to write poetry for pleasure. Fry is a wonderfully engaging teacher and writer of poetry himself, and he explains the various elements of poetry in simple terms, without condescension. His enjoyable exercises and witty insights introduce the concepts of Metre, Rhyme, Form, Diction, and Poetics. Aspiring poets will learn to write a sonnet, on ode, a villanelle, a ballad, and a haiku, among others. Along the way, he introduces us to poets we've heard of, but never read. The Ode Less Travelled is a lively celebration of poetry that makes even the most reluctant reader want to pick up a pencil and give it a try. BACKCOVER: Advanced Praise: “Delightfully erudite, charming and soundly pedagogical guide to poetic form… Fry has created an invaluable and highly enjoyable reference book.” —Publishers Weekly “A smart, sane and entertaining return to the basics… If you like Fry’s comic manner… this book has a lot of charm… People entirely fresh to the subject could do worse than stick with his cheerful leadership.” —The Telegraph (UK) “…intelligent and informative, a worthy enterprise well executed.” —Observer (UK) "If you learn how to write a sonnet, and Fry shows you how, you may or may not make a poem. But you will unlock the stored wisdom of the form itself." —Grey Gowrie, The Spectator (UK) “…intelligent and informative, a worthy enterprise well executed.” —Observer (UK)

    Organized in six parts (Childhood; Youth; Early Marriage and Bachelorhood; Teaching and Work; Fiction; Politics, Religion, Movies, Books, Cities; The Style of Middle Age) Getting Personal tells two stories: the development of Lopate's career as a writer and the story of his life.

    The correspondent, a young medical student diagnosed with cancer himself and facing his own mortality, asked these difficultQuestions. The two began a long-distance correspondence, culminating in Price's thoughtful response, originally delivered as the Jack and Lewis Rudin Lecture at Auburn Theological Seminary, and now expanded onto the printed page as Letter to a Man in the Fire. Harvesting a variety of sources -- diverse religious traditions, classical and modern texts, and a lifetime of personal experiences, interactions, and spiritual encounters -- Price meditates on God's participation in our fate. With candor and sympathy, he offers the reader such a rich variety of tools to explore these questions as to place this work in the company of other great tetsaments of faith from St. Augustine to C. S. Lewis. Letter to a Man in the Fire moves as much as it educates. It is a rare combination of deep erudition, vivid prose, and profound humanity.

    She finds solace in her anonymous blog, and in the daily chats she has with her mum's ashes (often the best conversations she has all day.)Despite the menopause, the invisibility of middle age and the daily self-esteem bashings, courtesy of her kids, Ciara manages to navigate the stormy waters of grief and family life - until her mask slips and she is cast out from the family bosom. She embarks on a mission to fulfil her mum's dying wishes to have her remains sprinkled from the top of the Empire State Building, finding company, distraction and - ultimately - herself in the process.If motherhood is a job - who says you can't resign?

    I am sure you’ve seen at least one, if not more of the 26 films made on fictional British spy 007. You may’ve also seen TV shows like The Americans, Blindspot, Chuck, Covert Affairs, Homeland, Nikita, Quantico, The Blacklist, and/or The Night Manager. I wrote this book after I realised that the average person may not know even one-sixth of what I know about spies and spying. Almost each of the Top 50 nations (by GDP, population or military power) has a spy agency/service. Many countries have more than one ‘secret service’ or ‘intelligence agency’. USA has 16. Some countries’ spy agencies are more powerful than entire smaller nations, with annual budgets larger than their GDPs. This books attempts to tell the story of 20 of the world’s largest and most powerful spy agencies, details their important missions, reveals their darkest secrets, and gives you an inside perspective of the often quite gory but thrilling ‘world of spies’. It gives you a 360º view of those spy agencies you only read about or see in a movie or TV show. With one chapter per agency, you can read only chapters you may be interested in. The life of most spies is not as glamorous as it is made out to be. You may think it is all about high-tech and guns and car chases and ‘hot’ women, but that’s not the case. In the real spy world, the techniques boil down to the interpretation of basic human psychology. Even though a spy learns several action techniques on how to get out of a dangerous situation, including how to withstand torture, if he/she is resorting to car chases, it means they’re doing something wrong. Spies don’t get paid very well. Gambling at a casino or flying on a private jet may be part of the job, but a spy doesn’t get to spend this kind of money on personal expenses. Spies cannot disclose the nature of their work to their family and friends, to maintain secrecy. Many have to live away from home for weeks, months, even years. Married life is a mess, as the spouse starts suspecting the spy of having an affair. Who can become a spy? Do you need a law enforcement (police) or military background? Not really. Spies have degrees as diverse as law, political science, finance, economics – even professional athletes have become successful spies.

    Her days consist of fishing in the Mekong River with her father, watching her younger sister Srey, cooking with her mother and dancing joyfully throughout the hut. When her sister becomes ill with dengue fever and the family worries she will die, her father journeys to the city in search of help. He returns with a doctor and a mysterious woman whom he tells Maelea she will now work for as a domestic servant. Maelea is promised a door to a better future, including school, but finds herself trapped in a brothel instead. There she endures unimaginable torture, isolation and is forced to sell her body up to 60 times a night for two years until one horrific act of terror becomes an unlikely saving grace. Dance For Me is an honest and compassionate look into child sex trafficking. it will make you angry, it will make you sad and it will inspire you to act for those who you cannot.

    Elizabeth is forced to become estranged from her father and struggles alone to create hope and meaning for her life while serving her mother like a slave. This book is a true account of a daughter's struggle to survive a mother with paranoia, schizophrenia, and manic depression.

    Only actions remain in our control while the reactions are simply to be borne. How one handles those reactions is believed to be the real test of one's existence on earth according to Hindu mythology. Desire and Destiny are the governing principles of the universe. What we desire, what we do to fulfill those desires and how we act upon our destinies—they all add up as credits and debits in our life's ledger, maintained by none other than Yama, the God of death. And he maintains this ledger for a reason: to determine what happens to us after we die. Read on as Devdutt Pattanaik unravels the various beliefs associated with death in Hindu mythology in Yama and His Book of Accounts.

    

    With a daring not obscured by the author’s extraordinary humaneness of spirit, the book argued that contemporary literature suffers first and foremost from a basic failure of the test of “morality.” By “moral fiction” the author meant fiction that attempts to test human values, not for the purpose of preaching or peddling a particular ideology or mode of conduct, but in a honest and open-minded effort to find out what best promotes human fulfillment. Such writing does so, as great artists beginning with Homer have always known, by the kind of analysis of characters and actions that brings both the writer and the reader to a fuller understanding, sympathy, and vision of human possibility. Because so much contemporary fiction fails to be moral in this sense, John Gardner argued, it undermines our experience of literature and our faith in ourselves. This bold argument is driven forward as the author subjects the work of his most celebrated contemporaries, such as Saul Bellow, Norman Mailer, John Updike, and Donald Barthelme to his sharp-eyed and relentless analysis. Although the last three decades have seen the rise of new generations of writers, and the ascendancy of postmodern modes of composition, On Moral Fiction still sets out the terms of a more ancient sense of the novelist’s calling. It is a salutary counterweight to prevailing trends. Praise for On Moral Fiction: “On Moral Fiction is criticism with both eyes open, fearless, illuminating, proving that the concern of thecritic is with art, that true art is moral and not trivial, that it and the discussion of it can give pleasure—of a sort that lasts and re-echoes.”— Robert Kirsch, Los Angeles Times “Because Gardner’s anger is honest and wholesome, the criticism of his contemporaries never descends to mere vindictiveness or gossip.”—Max Apple, The Nation “A thoughtful, amusing and arrogant little book, designed to pick fights."—Webster Schott, The Washington Post Book World