My wish simply is to live my life as fully as I can'The great American poet, novelist and environmental activist argues for a life lived slowly.

    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.

    Winik's amusing tales of outrageous mistakes, haunting uncertainty, and the never-ending struggle to stay true to her heart strike a powerful chord with creative, impassioned, independent-minded free spirits who know they're different -- and want to stay that way. Winik's seven Rules for the Unruly are: THE PATH IS NOT STRAIGHT · MISTAKES NEED NOT BE FATAL PEOPLE ARE MORE IMPORTANT THAN ACHIEVEMENTS OR POSSESSIONS BE GENTLE WITH YOUR PARENTS · NEVER STOP DOING WHAT YOU CARE ABOUT MOST LEARN TO USE A SEMICOLON · YOU WILL FIND LOVE Rules for the Unruly shows us how taking risks, living creatively, and cherishing our inner weirdness can become the secret of our happiness and success, not our downfall.

    A few years ago, Chimamanda Ngozi Adichie received a letter from a dear friend from childhood, asking her how to raise her baby girl as a feminist. Dear Ijeawele is Adichie's letter of response.Here are fifteen invaluable suggestions--compelling, direct, wryly funny, and perceptive--for how to empower a daughter to become a strong, independent woman. From encouraging her to choose a helicopter, and not only a doll, as a toy if she so desires; having open conversations with her about clothes, makeup, and sexuality; debunking the myth that women are somehow biologically arranged to be in the kitchen making dinner, and that men can "allow" women to have full careers, Dear Ijeawele goes right to the heart of sexual politics in the twenty-first century. It will start a new and urgently needed conversation about what it really means to be a woman today.

    More than 200 million years ago, geological forces split apart the continents. Isolated from each other, the two halves of the world developed radically different suites of plants and animals. When Christopher Columbus set foot in the Americas, he ended that separation at a stroke. Driven by the economic goal of establishing trade with China, he accidentally set off an ecological convulsion as European vessels carried thousands of species to new homes across the oceans. The Columbian Exchange, as researchers call it, is the reason there are tomatoes in Italy, oranges in Florida, chocolates in Switzerland, and chili peppers in Thailand. More important, creatures the colonists knew nothing about hitched along for the ride. Earthworms, mosquitoes, and cockroaches; honeybees, dandelions, and African grasses; bacteria, fungi, and viruses; rats of every description—all of them rushed like eager tourists into lands that had never seen their like before, changing lives and landscapes across the planet. Eight decades after Columbus, a Spaniard named Legazpi succeeded where Columbus had failed. He sailed west to establish continual trade with China, then the richest, most powerful country in the world. In Manila, a city Legazpi founded, silver from the Americas, mined by African and Indian slaves, was sold to Asians in return for silk for Europeans. It was the first time that goods and people from every corner of the globe were connected in a single worldwide exchange. Much as Columbus created a new world biologically, Legazpi and the Spanish empire he served created a new world economically.As Charles C. Mann shows, the Columbian Exchange underlies much of subsequent human history. Presenting the latest research by ecologists, anthropologists, archaeologists, and historians, Mann shows how the creation of this worldwide network of ecological and economic exchange fostered the rise of Europe, devastated imperial China, convulsed Africa, and for two centuries made Mexico City—where Asia, Europe, and the new frontier of the Americas dynamically interacted—the center of the world. In such encounters, he uncovers the germ of today’s fiercest political disputes, from immigration to trade policy to culture wars.In 1493, Charles Mann gives us an eye-opening scientific interpretation of our past, unequaled in its authority and fascination

    From Rwanda to Afghanistan, from Sudan to Iraq, this brilliantly written and at times blackly funny work of reportage shows how the humanitarian aid industry, the media and warmongers the world over are locked in a cycle of mutual support.

    Since then, painting has been declared dead several times over, and contemporary art has now expanded to include just about any object, action, or event: dance routines, slideshows, functional hair salons, seemingly random accretions of waste. In the meantime, being an artist has gone from a join-the-circus fantasy to a plausible vocation for scores of young people in America.But why--and how and by whom--does all this art get made? How is it evaluated? And for what, if anything, will today's artists be remembered? In The Contemporaries, Roger White, himself a young painter, serves as our spirited, skeptical guide through this diffuse creative world.White takes us into the halls of the RISD graduate program, where students learn critical lessons that go far beyond how to apply paint to canvases. In New York, we meet the neophytes who assist established artists--and who walk the fine line between "assistance" and "making the art." In Milwaukee, White trails a group of friends trying to create a viable scene where rent is cheap, but where the spotlight rarely shines. And he gives us an intimate perspective on three wildly different careers: that of Dana Schutz, an emerging star who is revitalizing painting; Mary Walling Blackburn, whose challenging art defies market forces; and Stephen Kaltenbach, a '70s wunderkind who is back on the critical radar, perhaps in spite of his own willful obscurity.From young artists trying to elbow their way in to those working hard at dropping out, White's essential book offers a once-in-a-generation glimpse of the inner workings of the American art world at a moment of unparalleled ambition, uncertainty, and creative exuberance.

    Liebling's abiding passion for the "sweet science" of boxing, A Neutral Corner brings together fifteen previously unpublished pieces written between 1952 and 1963. Antic, clear-eyed, and wildly entertaining, these essays showcase a The New Yorker journalist at the top of his form. Here one relives the high drama of the classic Patterson-Johansson championship bout of 1959, and Liebling's early prescient portrayal of Cassius Clay's style as a boxer and a poet is not to be missed.Liebling always finds the human story that makes these essays appealing to aficionados of boxing and prose alike. Alive with a true fan's reverence for the sport, yet balanced by a true skeptic's disdain for sentiment, A Neutral Corner is an American treasure.

    More than a decade's worth of essays by the Pulitzer Prize winning syndicated columnist capture the essence of big city American life, from neighborhood taverns to backroom politics.

    The collection will include pre-published essays that have gone viral, like “The White Industrial Savior Complex,” first published in The Atlantic.

     It's meant to be a very easy read; not a book you read systematically from beginning to end but rather a book to read during those times you find reading a book overwhelming. How we choose to look at something is essential to our happiness, and the author, Dushka Zapata, hopes to leave readers with a little of that.

    His book includes essays on Sudan, India, Cuba, Germany and California. In each piece, there is a central image as the key to unlocking the personality of a place.

    Gruchow turns a naturalist's eye on a wilderness of wolves, moose, and loons as he visits national parks and other scenic spots. Drawing on the works of Thoreau and Wendell Berry, he explores the relationship of person to place.

    L. Mencken's astonishing career as the premier American social critic of the twentieth century. Gathered by Mencken himself before he died in 1956, this second chrestomathy ("a collection of selected literary passages," with the accent on the tom) contains writings about a variety of subjects - politics, war, music, literature, men and women, lawyers, brethren of the cloth. Some of his essays have beguiling titles - "Notes for an Honest Autobiography," "The Commonwealth of Morons," "Le Vice Anglais," "Acres of Babble," "Hooch for the Artist." All of them are a pleasure to read, and we are reminded that what Mencken wrote in the early years of this century remains applicable to a very different America.Publishers WeeklyThis book's precursor, A Mencken Chrestomathy (collection), was a bestseller in 1949; this anthology of 238 short excerpts from a range of works, selected and annotated by Mencken but unfinished, lay undisturbed in a Baltimore library until Teachout, an arts columnist for the New York Daily News, found it in 1992, while working on a Mencken biography. Teachout considers Mencken's work still immediate. Indeed, quotable lines abound: ``His public life is an endless series of evasions and false pretenses,'' writes Mencken on ``the politician under democracy.'' Baltimore's bard can be magnificent and maddening in the same passage, damning American idiocies while disparaging immigrants. But what impresses most about this collection is Mencken's breadth; few contemporary writers would assume such a broad brief, writing not only about politics, law and the clergy but also about geography, literature, music and drink. To apply a Mencken sobriquet, he was no lesser eminento. (Jan.)Library JournalSelected as a continuation of the original chrestomathy by the Baltimore iconoclast himself before his death, this logically organized sampling of his pre-Depression credos (mostly from The Smart Set and American Mercury) suggests why Mencken was to a whole generation of American youth not just a witty newspaperman with a dazzling style but a force gleefully battering America's deep-rooted Puritan inhibitions. An early champion of Sinclair Lewis, Eugene O'Neill, and Theodore Dreiser, Mencken ridiculed America's institutions, from Rotary Clubs to Harvard professors to the Senate. Sometimes wrongheaded in his judgments, he was unschooled but self-educated in music and politics. His views are sometimes racist and sexist, but they're seldom dull and-in an age of self-conscious "niceness"-never polite. Well worth dipping into.-Charles C. Nash, Cottey Coll., Nevada, Mo.Gilbert TaylorFollowing My Life as Author and Editor" (1993) and Fred Hobson's biography , the Menckenian revival continues apace with this sparkling successor to the first chrestomathy, which was a best-seller in 1949. More than an anthology, the second volume represents pieces (some previously unpublished) that Mencken himself selected and revised before his stroke aborted the project; another proposal to publish came to nought in 1963. Over 60 percent of the 238 items, many from Mencken's magazines Smart Set" and American Mercury", are not available elsewhere, which in itself makes the publication of this title something of a literary event. That it parades again the sage of Baltimore in his incisive, if often irksome, eloquence only confirms him as one of the better belletrists of the century. The job of discriminator of taste exists to be seized in any age, and in the teens and twenties, Mencken extolled and excoriated with idiosyncratic abandon. The books and music he reviewed have faded from memory, but his satirical exfoliations remain fresh, for example, in praise of a bartender's memoir of the bibulous arts or in contempt for a Rotarian's history of his organization. Edited by New York critic Terry Teachout, who is preparing his own biography of the provocateur, this entertaining, exasperating collection captures Mencken's gloomy view of human nature and his bright delight in stripping from it all cant and concealment.

    Throughout, Olson makes a compelling case for preserving the wilderness. He puts forth his own life as an example of how nature can have a spiritual effect on the human soul, and proposes diligence on behalf of those who fight to conserve our forests, wetlands, and dunes.