Off the reserve and trying to find ways to live and love in the big city, Jonny becomes a cybersex worker who fetishizes himself in order to make a living. Self-ordained as an NDN glitter princess, Jonny has one week before he must return to the "rez," and his former life, to attend the funeral of his stepfather. The next seven days are like a fevered dream: stories of love, trauma, sex, kinship, ambition, and the heartbreaking recollection of his beloved kokum (grandmother). Jonny's world is a series of breakages, appendages, and linkages--and as he goes through the motions of preparing to return home, he learns how to put together the pieces of his life. Jonny Appleseed is a unique, shattering vision of Indigenous life, full of grit, glitter, and dreams.

    Winner of the Archibald Lampman Award for Poetry, Whylah Falls has inspired a drama, a stage play, and a feature film, One Heart Broken into Song. This Tenth Anniversary Edition includes "Apocrypha" - a section of previously unpublished poems - and an introduction by Clarke.

    The Jack-Roller helped to establish the life-history or "own story" as an important instrument of sociological research. The book remains as relevant today to the study and treatment of juvenile delinquency and maladjustment as it was when originally published in 1930.

    Here is his legacy to us: the universal values he pinpoints become the watchwords for our appreciation of Calvino himself.What should be cherished in literature? Calvino devotes one lecture, or memo to the reader, to each of five indispensable qualities: lightness, quickness, exactitude, visibility, and multiplicity. A sixth lecture, on consistency, was never committed to paper, and we are left only to ponder the possibilities. With this book, he gives us the most eloquent defense of literature written in the twentieth century as a fitting gift for the next millennium.

     Even the best job can slowly drain your battery. When Gillian Lindsay realizes it’s time for a recharge, she impetuously decides to visit Scotland. Knowing nothing about the country, she schedules a tour of Edinburgh Castle for the day she arrives, just to get the lay of the land. After spending the afternoon with Torie Gunn, her very able tour guide, Gillian proposes hiring her for a week-long trip across the country. Torie’s astonished. Gillian has done no research, and has no plans, placidly asking Torie to come up with an itinerary. That seems like the ideal way to create an unsatisfied customer. But Gillian certainly seems like a very easygoing person, and earning a week’s pay merely talking sounds like a dream. Torie jumps in, hoping she can satisfy Gillian’s desires. Over the course of their trip, other, more romantic desires spring to life. Will they be satisfied too?

    In My 1980s and Other Essays, a collection of extravagant range and style, he rises to the challenge of that improbable description.My 1980s and Other Essays opens with a series of manifestos—or, perhaps more appropriately, a series of impassioned disclosures, intellectual and personal. It then proceeds to wrestle with a series of major cultural figures, the author's own lodestars and lodestones: literary (John Ashbery, Roberto Bolaño, James Schuyler), artistic (Diane Arbus, Cindy Sherman, Andy Warhol), and simply iconic (Brigitte Bardot, Cary Grant, Lana Turner). And then there is the personal—the voice, the style, the flair—that is unquestionably Koestenbaum. It amounts to a kind of intellectual autobiography that culminates in a string of passionate calls to creativity; arguments in favor of detail and nuance, and attention; a defense of pleasure, hunger, and desire in culture and experience. Koestenbaum is perched on the cusp of being a true public intellectual—his venues are more mainstream than academic, his style is eye-catching, his prose unfailingly witty and passionate, his interests profoundly wide-ranging and popular. My 1980s should be the book that pushes Koestenbaum off that cusp and truly into the public eye.

    YouTube and Facebook dominate the web. In Reality Hunger: A Manifesto, his landmark new book, David Shields (author of the New York Times best seller The Thing About Life Is That One Day You’ll Be Dead) argues that our culture is obsessed with “reality” precisely because we experience hardly any.Most artistic movements are attempts to figure out a way to smuggle more of what the artist thinks is reality into the work of art. So, too, every artistic movement or moment needs a credo, from Horace’s Ars Poetica to Lars von Trier’s “Vow of Chastity.” Shields has written the ars poetica for a burgeoning group of interrelated but unconnected artists in a variety of forms and media who, living in an unbearably manufactured and artificial world, are striving to stay open to the possibility of randomness, accident, serendipity, spontaneity; actively courting reader/listener/viewer participation, artistic risk, emotional urgency; breaking larger and larger chunks of “reality” into their work; and, above all, seeking to erase any distinction between fiction and nonfiction.The questions Reality Hunger explores—the bending of form and genre, the lure and blur of the real—play out constantly all around us. Think of the now endless controversy surrounding the provenance and authenticity of the “real”: A Million Little Pieces, the Obama “Hope” poster, the sequel to The Catcher in the Rye, Robert Capa’s “The Falling Soldier” photograph, the boy who wasn’t in the balloon. Reality Hunger is a rigorous and radical attempt to reframe how we think about “truthiness,” literary license, quotation, appropriation.Drawing on myriad sources, Shields takes an audacious stance on issues that are being fought over now and will be fought over far into the future. People will either love or hate this book. Its converts will see it as a rallying cry; its detractors will view it as an occasion for defending the status quo. It is certain to be one of the most controversial and talked-about books of the year.

    The feud that erupted as a result has continued for over a century. Lyndall Gordon, an award-winning biographer, tells the riveting story of the Dickinsons, and reveals Emily as a very different woman from the pale, lovelorn recluse that exists in the popular imagination. Thanks to unprecedented use of letters, diaries, and legal documents, Gordon digs deep into the life and work of Emily Dickinson, to reveal the secret behind the poet's insistent seclusion, and presents a woman beyond her time who found love, spiritual sustenance, and immortality all on her own terms. An enthralling story of creative genius, filled with illicit passion and betrayal, "Lives Like Loaded Guns" is sure to cause a stir among Dickinson's many devoted readers and scholars.

    When she finds out her girlfriend has lied to her, the world she thought she'd carefully built for herself begins to unravel, and Maria sets out on a journey that will most certainly change her forever.

    Using journals, unpublished manuscripts, songs, news accounts, novels, medical literature, and numerous interviews, she relates an often surprising narrative of lesbian life. "A key work...the point of reference from which all subsequent studies of 20th-century lesbian life in the United States will begin."—San Francisco Examiner.

     Glen Retief's childhood was at once recognizably ordinary--and brutally unusual.Raised in the middle of a game preserve where his father worked, Retief's warm nuclear family was a preserve of its own, against chaotic forces just outside its borders: a childhood friend whose uncle led a death squad, while his cultured grandfather quoted Shakespeare at barbecues and abused Glen's sister in an antique-filled, tobacco-scented living room.But it was when Retief was sent to boarding school, that he was truly exposed to human cruelty and frailty. When the prefects were caught torturing younger boys, they invented "the jack bank," where underclassmen could save beatings, earn interest on their deposits, and draw on them later to atone for their supposed infractions. Retief writes movingly of the complicated emotions and politics in this punitive all-male world, and of how he navigated them, even as he began to realize that his sexuality was different than his peers'.

      John Gardner was almost as famous as a teacher of creative writing as he was for his own works. In this practical, instructive handbook, based on the courses and seminars that he gave, he explains, simply and cogently, the principles and techniques of good writing. Gardner’s lessons, exemplified with detailed excerpts from classic works of literature, sweep across a complete range of topics—from the nature of aesthetics to the shape of a refined sentence. Written with passion, precision, and a deep respect for the art of writing, Gardner’s book serves by turns as a critic, mentor, and friend. Anyone who has ever thought of taking the step from reader to writer should begin here.

    The taunts of his now-deceased father ringing in his ears, Binh answers an ad for a live-in cook at a Parisian household, and soon finds himself employed by Gertrude Stein and Alice B. Toklas.Toklas and Stein hold court in their literary salon, for which the devoted yet acerbic Binh serves as chef, and as a keen observer of his "Mesdames" and their distinguished guests. But when the enigmatic literary ladies decide to journey back to America, Binh is faced with a monumental choice: will he, the self-imposed "exile," accompany them to yet another new country, return to his native Vietnam, or make Paris his home?

    Features: - Same great Essential Elements 2000 method - 15-minute video/"super lesson" for learning the basics- Play-along mp3* tracks for all 185 exercises (featuring a professional player on your instrument)- Tempo Adjustment Software- Duets and Trios- Music Listening Library- SmartMusic Software for Exercises 1-100 (for use on PC/Mac) - practice, record, and email a performance with on-screen assessment *mp3 files will play on most current CD or DVD players Authors: Tim Lautzenheiser, John Higgins, Charles Menghini, Paul Lavender, Tom C. Rhodes, Don Bierschenk

    The Dublin-born Oxford man had made such a spectacle of himself in London with his eccentric fashion sense, acerbic wit, and extravagant passion for art and home design that Gilbert Sullivan wrote an operetta lampooning him. He was hired to go to America to promote that work by presenting lectures on interior decorating. But Wilde had his own business plan. He would go to promote himself.And he did, traveling some 15,000 miles and visiting 150 American cities as he created a template for fame creation that still works today. Though Wilde was only the author of a self-published book of poems and an unproduced play, he presented himself as a “star,” taking the stage in satin breeches and a velvet coat with lace trim as he sang the praises of sconces and embroidered pillows—and himself. What Wilde so presciently understood is that fame could launch a career as well as cap one.David M. Friedman’s lively and often hilarious narrative whisks us across nineteenth-century America, from the mansions of Gilded Age Manhattan to roller-skating rinks in Indiana, from an opium den in San Francisco to the bottom of the Matchless silver mine in Colorado—then the richest on earth—where Wilde dined with twelve gobsmacked miners, later describing their feast to his friends in London as “First course: whiskey. Second course: whiskey. Third course: whiskey.”But, as Friedman shows, Wilde was no mere clown; he was a strategist. From his antics in London to his manipulation of the media—Wilde gave 100 interviews in America, more than anyone else in the world in 1882—he designed every move to increase his renown. There had been famous people before him, but Wilde was the first to become famous for being famous. Wilde in America is an enchanting tale of travel and transformation, comedy and capitalism—an unforgettable story that teaches us about our present as well as our past.