In this much-anticipated follow-up to the bestselling UK edition, hailed by Zadie Smith as "lively and vital," editors Nikesh Shukla and Chimene Suleyman hand the microphone to an incredible range of writers whose humanity and right to be here is under attack. Chigozie Obioma unpacks an Igbo proverb that helped him navigate his journey to America from Nigeria.Jenny Zhang analyzes cultural appropriation in 90s fashion, recalling her own pain and confusion as a teenager trying to fit in.Fatimah Asghar describes the flood of memory and emotion triggered by an encounter with an Uber driver from Kashmir.Alexander Chee writes of a visit to Korea that changed his relationship to his heritage.These writers, and the many others in this singular collection, share powerful personal stories of living between cultures and languages while struggling to figure out who they are and where they belong. By turns heartbreaking and hilarious, troubling and uplifting, the essays in The Good Immigrant come together to create a provocative, conversation-sparking, multivocal portrait of America now.

    Unlike any other memoir of depression, however, Unholy Ghost includes many voices and depicts the most complete portrait of the illness. Lauren Slater eloquently describes her own perilous experience as a pregnant woman on antidepressant medication. Susanna Kaysen, writing for the first time about depression since Girl, Interrupted, criticizes herself and others for making too much of the illness. Larry McMurtry recounts the despair that descended after his quadruple bypass surgery. Meri Danquah describes the challenges of racism and depression. Ann Beattie sees melancholy as a consequence of her writing life. And Donald Hall lovingly remembers the "moody seesaw" of his relationship with his wife, Jane Kenyon.The collection also includes an illuminating series of companion pieces. Russell Banks's and Chase Twichell's essays represent husbandand-wife perspectives on depression; Rose Styron's contribution about her husband's struggle with melancholy is paired with an excerpt from William Styron's Darkness Visible; and the book's editor, Nell Casey, juxtaposes her own essay about seeing her sister through her depression with Maud Casey's account of this experience. These companion pieces portray the complicated bond -- a constant grasp for mutual understandingforged by depressives and their family members.With an introduction by Kay Redfield Jamison, Unholy Ghost allows the bewildering experience of depression to be adequately and beautifully rendered. The twenty-two stories that make up this book will offer solace and enlightenment to all readers.

    You should never quit your day job, but your ultimate goal should be to quit your day job. It's an endless, confusing, and often controversial conversation that, despite our bare-it-all culture, still remains taboo. In Scratch, Manjula Martin has gathered interviews and essays from established and rising authors to confront the age-old question: how do creative people make money? As contributors including Jonathan Franzen, Cheryl Strayed, Roxane Gay, Nick Hornby, Susan Orlean, Alexander Chee, Daniel Jose Older, Jennifer Weiner, and Yiyun Li candidly and emotionally discuss money, MFA programs, teaching fellowships, finally getting published, and what success really means to them, Scratch honestly addresses the tensions between writing and money, work and life, literature and commerce. The result is an entertaining and inspiring book that helps readers and writers understand what it's really like to make art in a world that runs on money-and why it matters.

    This collection has more than twenty-five selections, including such important statements as "Modern Fiction" and "The Modern Essay."

    You don't need a fistful of statistics to know this. Visit any city, and evidence of our shattered social compact will present itself. From Appalachia to the Rust Belt and down to rural Texas, the gap between the wealthiest and the poorest stretches to unimaginable chasms. Whether the cause of this inequality is systemic injustice, the entrenchment of racism in our culture, the long war on drugs, or immigration policies, it endangers not only the American Dream but our very lives.In Tales of Two Americas, some of the literary world's most exciting writers look beyond numbers and wages to convey what it feels like to live in this divided nation. Their extraordinarily powerful stories, essays, and poems demonstrate how boundaries break down when experiences are shared, and that in sharing our stories we can help to alleviate a suffering that touches so many people.

    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.

    The Curtain is a seven-part essay by Milan Kundera, along with The Art of the Novel and Testaments Betrayed composing a type of trilogy of book-length essays on the European novel.

    The stories she loves most follow other organic patterns found in nature―spirals, meanders, and explosions, among others. Alison’s manifesto for new modes of narrative will appeal to serious readers and writers alike. As Jane Alison writes in the introduction to her insightful and appealing book about the craft of writing: “For centuries there’s been one path through fiction we’re most likely to travel―one we’re actually told to follow―and that’s the dramatic arc: a situation arises, grows tense, reaches a peak, subsides. . . . But: something that swells and tautens until climax, then collapses? Bit masculo-sexual, no? So many other patterns run through nature, tracing other deep motions in life. Why not draw on them, too?”W. G. Sebald’s The Emigrants was the first novel to show Alison how forward momentum can be created by way of pattern, rather than the traditional arc―or, in nature, wave. Other writers of nonlinear prose considered in her “museum of specimens” include Nicholson Baker, Anne Carson, Marguerite Duras, Jamaica Kincaid, Clarice Lispector, Gabriel García Márquez, Susan Minot, David Mitchell, Caryl Phillips, and Mary Robison.Meander, Spiral, Explode is a singular and brilliant elucidation of literary strategies that also brings high spirits and wit to its original conclusions. It is a liberating manifesto that says, Let’s leave the outdated modes behind and, in thinking of new modes, bring feeling back to experimentation. It will appeal to serious readers and writers alike.

    Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world. It includes the famous essays "Notes on Camp" and "Against Interpretation," as well as her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Lévi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.This edition has a new afterword, "Thirty Years Later," in which Sontag restates the terms of her battle against philistinism and against ethical shallowness and indifference.

    Or, said another way, they tackle life in all of its quotidian richness.

    From the Iraqi desert to an East Jerusalem refugee camp, from the beginnings of the universe to the aftermath of a suicide attempt, the genetic makeup of the eclectic and electric selections in The Best American Essays 2017 “thrill toward complexity.”  The Best American Essays 2017 includes RACHEL KAADZI GHANSAH, LAWRENCE JACKSON,  RACHEL KUSHNER, ALAN LIGHTMAN, BERNARD FARAI MATAMBO, WESLEY MORRIS, HEATHER SELLERS, ANDREA STUARTand others

    She had a play that was to be produced at the New York International Fringe Festival and a job waiting for her at the New Yorker. Tragically, five days after graduation, Marina died in a car crash.As her family, friends, and classmates, deep in grief, joined to create a memorial service for Marina, her unforgettable last essay for the Yale Daily News, “The Opposite of Loneliness,” went viral, receiving more than 1.4 million hits. She had struck a chord.Even though she was just twenty-two when she died, Marina left behind a rich, expansive trove of prose that, like her title essay, captures the hope, uncertainty, and possibility of her generation. The Opposite of Loneliness is an assem­blage of Marina’s essays and stories that, like The Last Lecture, articulates the universal struggle that all of us face as we figure out what we aspire to be and how we can harness our talents to make an impact on the world.

    The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing.As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the technology of poetry--its sounds--to create works of art that are performed in us when we read them aloud.He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Gl�ck, and Frank Bidart.This ideal introductory volume belongs in the library of every poet and student of poetry.

    In A Swim in a Pond in the Rain, he shares a version of that class with us, offering some of what he and his students have discovered together over the years. Paired with iconic short stories by Chekhov, Turgenev, Tolstoy, and Gogol, the seven essays in this book are intended for anyone interested in how fiction works and why it’s more relevant than ever in these turbulent times.In his introduction, Saunders writes, “We’re going to enter seven fastidiously constructed scale models of the world, made for a specific purpose that our time maybe doesn’t fully endorse but that these writers accepted implicitly as the aim of art—namely, to ask the big questions, questions like, How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it?” He approaches the stories technically yet accessibly, and through them explains how narrative functions; why we stay immersed in a story and why we resist it; and the bedrock virtues a writer must foster. The process of writing, Saunders reminds us, is a technical craft, but also a way of training oneself to see the world with new openness and curiosity.A Swim in a Pond in the Rain is a deep exploration not just of how great writing works but of how the mind itself works while reading, and of how the reading and writing of stories make genuine connection possible.

    The carefully chosen table of contents presents enough familiarity to reassure instructors, enough novelty to keep things interesting, and enough variety to accommodate many different teaching needs. The editorial apparatus has been designed to support that variety of needs without being intrusive. In its second edition, 50 Essays continues to offer selections that instructors love to teach, with even more flexibility and more support for academic writing.