Almost simultaneously, many of our finest writers are experimenting with a new nonfiction form: brief pieces that are literary and personal rather than informational, complete in themselves, and short—very short. Although the form has not had a name until now, the writers who are attracted to it include the known—Tim O'Brien, Barry Lopez, Terry Tempest Williams, Michael Ondaatje—as well as just-discovered voices in the field of creative nonfiction, a genre that is transforming the essay.Delights and surprises await the reader in this rich gathering of Shorts. From Diane Ackerman's fascination with hummingbirds, to Andrei Codrescu's idiosyncratic view of nostalgia, to Albert Goldbarth's free-wheeling riff on the universe, each Short—ranging from several paragraphs to 2,000 words—becomes a sharply focused lens on an outer world or an inner sensibility.In Short, reflecting almost every way in which nonfiction can be written, is for all readers (and writers) who thrive on imaginative play and aesthetic satisfaction. Pick up this book; open it up. See if you can resist it.

    Distinguished from the  detached formal essay by its friendly, conversational tone, its loose structure, and its drive toward candor and self-disclosure, the personal essay seizes on the minutiae of daily life-vanities, fashions, foibles, oddballs, seasonal rituals, love and  disappointment, the pleasures of solitude, reading, taking a walk -- to offer insight into the human condition and the great social and political issues of the day. The Art of the Personal Essay is the first anthology to celebrate this fertile genre. By presenting more than seventy-five personal essays, including influential forerunners from ancient Greece, Rome, and the Far East, masterpieces from the dawn of the personal essay in the sixteenth century, and a wealth of the finest personal essays from the last four centuries, editor Phillip Lopate, himself an acclaimed essayist, displays the tradition of the personal essay in all its historical grandeur, depth, and diversity.

    

    Since its founding in 1997, Brevity: A Journal of Concise Literary Nonfiction has published hundreds of brief nonfiction essays by writers around the world, each within that strict word count. Over the past 20 years, Brevity has become one of the longest-running and most popular online literary publications, a journal readers regularly return to for insightful essays from skilled writers at every stage of their careers. Featuring examples of nonfiction forms such as memoir, narrative, lyric, braided, hermit crab, and hybrid, The Best of Brevity brings you 84 of the best-loved and most memorable reader favorites, collected in print for the first time. Compressed to their essence, these essays glint with drama, grief, love, and anger, as well as innumerable other lived intensities, resulting in an anthology that is as varied as it is unforgettable, leaving the reader transformed.With contributions from Krys Malcolm Belc, Jenny Boully, Brian Doyle, Roxane Gay, Daisy Hernández, Michael Martone, Ander Monson, Patricia Park, Kristen Radtke Diane Seuss, Abigail Thomas, Jia Tolentino, and so many more, The Best of Brevity offers unparalleled diversity of style, form, and perspective for those interested in reading, writing, or teaching the flash nonfiction form.

    In Holy the Firm she writes about a moth consumed in a candle flame, about a seven-year-old girl burned in an airplane accident, about a baptism on a cold beach. But behind the moving curtain of what she calls "the hard things -- rock mountain and salt sea," she sees, sometimes far off and sometimes as close by as a veil or air, the power play of holy fire.This is a profound book about the natural world -- both its beauty and its cruelty -- the Pulitzer Prize-winning Dillard knows so well.

    Each piece compels readers to rethink not only how they have arrived at their own personal beliefs but also the extent to which they share them with others. Featuring a well-known list of contributors--including Isabel Allende, Colin Powell, Gloria Steinem, William F. Buckley Jr., Penn Jillette, Bill Gates, and John Updike--the collection also contains essays by a Brooklyn lawyer; a part-time hospital clerk from Rehoboth, Massachusetts; a woman who sells Yellow Pages advertising in Fort Worth, Texas; and a man who serves on the state of Rhode Island's parole board. The result is a stirring and provocative trip inside the minds and hearts of a diverse group of people whose beliefs--and the incredibly varied ways in which they choose to express them--reveal the American spirit at its best.

    Robert Swartwood was inspired by Ernest Hemingway's possibly apocryphal six-word story—"For Sale: baby shoes, never worn"—to foster the writing of these incredibly short-short stories. He termed them "hint fiction" because the few chosen words suggest a larger, more complex chain of events. Spare and evocative, these stories prove that a brilliantly honed narrative can be as startling and powerful as a story of traditional length. The 125 gemlike stories in this collection come from such best-selling and award-winning authors as Joyce Carol Oates, Ha Jin, Peter Straub, and James Frey, as well as emerging writers.

     Selected by five hundred writers, English professors, and creative writing teachers from across the country, this collection includes only the most highly regarded nonfiction work published since 1970. Contents:The fourth state of matter by Jo Ann BeardGetting along with nature by Wendell BerryThe pain scale by Eula BissThe unwanted child by Mary Clearman BlewTorch song by Charles BowdenEmbalming Mom by Janet BurrowayPhysical evidence by Kelly Grey CarlisleThe glass essay by Anne CarsonBurl's by Bernard CooperVisitor by Michael W. CoxLiving like weasels by Annie DillardReturn to sender by Mark DotyLeap by Brian DoyleSomehow form a family by Tony EarleyKissing by Anthony FarringtonThe beautiful city of Tirzah by Harrison Candelaria FletcherSun dance by Diane GlancyMirrorings by Lucy GrealyPresent tense Africa by William HarrisonReading history to my mother by Robin HemleyWorld on a hilltop by Adam HochschildA small place by Jamaica KincaidHigh tide in Tucson by Barbara KingsolverSmall rooms in time by Ted KooserThe essayist is sorry for your loss by Sara LevineMastering the art of French cooking by E. J. LevyPortrait of my body by Phillip LopateFlight by Barry LopezThe undertaking by Thomas LynchSorry by Lee MartinInterstellar by Rebecca McClanahanBad eyes by Erin McGrawThe search for Marvin Gardens by John McPheeThe date by Brenda MillerSon of Mr. Green Jeans by Dinty W. MooreCelibate passion by Kathleen NorrisThis is not who we are by Naomi Shihab NyeAutopsy report by Lia PurpuraWatching the animals by Richard RhodesShitdiggers, mudflats, and the worm men of Maine by Bill RoorbachRepeat after me by David SedarisImelda by Richard SelzerThe Pat Boone Fan Club by Sue William SilvermanA measure of acceptance by Floyd SklootBlack swans by Lauren SlaterThe love of my life by Cheryl StrayedMother tongue by Amy TanIf you knew then what I know now by Ryan Van MeterConsider the lobster by David Foster WallaceHawk by Joy Williams

    Moore’s books—and, invariably, “hilarious.” Between Panic and Desire, named after two towns in Pennsylvania, finds Moore at the top of his astutely funny form. A book that could be named after one of its chapters, “A Post-Nixon, Post-panic, Post-modern, Post-mortem,” this collection is an unconventional memoir of one man and his culture, which also happens to be our own. Blending narrative and quizzes, memory and numerology, and imagined interviews and conversations with dead presidents on TV, the book dizzily documents the disorienting experience of growing up in a postmodern world. Here we see how the major events in the author’s early life—the Kennedy assassination, Nixon’s resignation, watching Father Knows Best, and dropping acid atop the World Trade Center, to name a few—shaped the way he sees events both global and personal today. More to the point, we see how these events shaped, and possibly even distorted, today’s world for all of us who spent our formative years in the ’50s, ’60s, and ’70s. A curious meditation on family and bereavement, longing and fear, self-loathing and desire, Between Panic and Desire unfolds in kaleidoscopic forms—a coroner’s report, a TV movie script, a Zen koan—aptly reflecting the emergence of a fractured virtual America.

    This is a communal effort by the Pushcart Press staff, contributing editors, and hundreds of small presses. For this edition distinguished poets Julie Sheehan and Tom Sleigh served as poetry editors. The result is an introduction to a literary world that few readers have access to, where much of today's important new writing is published, far from the commercial influence of the conglomerates. In reviewing last year's edition, Donna Seaman of Booklist commented: "A brimming, vibrant anthology-the perfect introduction to new writers and adventurous new work by established writers . . . extraordinary in its range of voices and subjects. Here is literature to have and to hold." The Pushcart Prize has been chosen for the Ivan Sandrof Lifetime Achievement recognition by the National Book Critics Circle and the Writers for Writers award from Poets Writers / Barnes Noble.

    He reflects on his outsider experience at an exclusive Detroit-area boarding school in the form of a criminal history and invents a new form as he meditates on snow.Outline toward a theory of the mine versus the mind and the Harvard outline --I have been thinking about snow --Cranbrook Schools : adventures in bourgeois topologies --Index for X and the origin of fires --Fragments : on dentistry --Subject to wave action : a there and a back (with orchestral accompaniment) --The long crush --Failure : a meditation, another iteration (with interruptions) --After form and formlessness : bodies, boats, and bathing --The big and sometimes colored foam : four annotated car washes --Afterword: Elegy for telegram and Starflight

    Pure Drivel is a collection of pieces, most of them written for the New Yorker, that demonstrate Martin's playful way with words and his unerring ability to create a feeling of serendipitous improvisation even on the printed page. Here's a passage from a piece that announces a shortage of periods in the Times Roman font: "Most vulnerable are writers who work in short, choppy sentences," said a spokesperson for Times Roman, who continued, "We are trying to remedy the situation and have suggested alternatives, like umlauts, since we have plenty of umlauts--and, in fact, have more umlauts than we could possibly use in a lifetime! Don't forget, umlauts can really spice up a page with their delicate symmetry--resting often midway in a word, letters spilling on either side--and not only indicate the pronunciation of a word but also contribute to a writer's greater glory because they're fancy, not to mention that they even look like periods, indeed, are indistinguishable from periods, and will lead casual readers to believe that the article actually contains periods!" Although some of these pieces flirted with topicality when they first appeared, Martin is most successful when he leaves the real world behind and gives his wit free rein. This collection preserves the best (so far) of his glorious improvisations. --Simon Leake

    Bad art is from no one to no one. Am I happy? Damned if I know, but give me a few minutes and I’ll tell you whether you are. Thank heaven I don’t have my friends’ problems. But sometimes I notice an expression on one of their faces that I recognize as secret gratitude. I read sad stories to inoculate myself against grief. I watch action movies to identify with the quick-witted heroes. Both the same fantasy: I’ll escape the worst of it.—from 300 ArgumentsA “Proustian minimalist on the order of Lydia Davis” (Kirkus Reviews), Sarah Manguso is one of the finest literary artists at work today. To read her work is to witness acrobatic acts of compression in the service of extraordinary psychological and spiritual insight.300 Arguments, a foray into the frontier of contemporary nonfiction writing, is at first glance a group of unrelated aphorisms. But, as in the work of David Markson, the pieces reveal themselves as a masterful arrangement that steadily gathers power. Manguso’s arguments about desire, ambition, relationships, and failure are pithy, unsentimental, and defiant, and they add up to an unexpected and renegade wisdom literature.

    Eula Biss explores race in America and her response to the topic is informed by the experiences chronicled in these essays -- teaching in a Harlem school on the morning of 9/11, reporting for an African American newspaper in San Diego, watching the aftermath of Katrina from a college town in Iowa, and settling in Chicago's most diverse neighborhood.As Biss moves across the country from New York to California to the Midwest, her essays move across time from biblical Babylon to the freedman's schools of Reconstruction to a Jim Crow mining town to post-war white flight. She brings an eclectic education to the page, drawing variously on the Eagles, Laura Ingalls Wilder, James Baldwin, Alexander Graham Bell, Joan Didion, religious pamphlets, and reality television shows.These spare, sometimes lyric essays explore the legacy of race in America, artfully revealing in intimate detail how families, schools, and neighborhoods participate in preserving racial privilege. Faced with a disturbing past and an unsettling present, Biss still remains hopeful about the possibilities of American diversity, "not the sun-shininess of it, or the quota-making politics of it, but the real complexity of it."

    Her episodic "missives" cover territory from the chaos of a frenetic childhood to love affairs, failed and otherwise, to the Chernobyl nuclear accident, to an ocean-crossing search for her Eastern European roots. In confident, lyrical prose, Kupperman leads the reader through a winding gallery--a collection of still lifes and portraits, landscapes of loneliness and love.