But they passed and passed and still the doorway remained empty of his deep voice, calling out her name. Blending the intimacy of memoir with an artist's vision, Toyo is the story of a remarkable woman, a vivid picture of Japan before and after war, and an unpredictable tale of courage and change in today's Australia. Born into the traditional world of pre-war Osaka, Toyo must always protect the secret of her parents' true relationship. Her father lives in China with his wife; her unmarried mother runs a caf . Toyo and her mother are beautiful and polite, keeping themselves in society's good graces. Then comes the rain of American bombs. Toyo's life is uprooted again and again. With each sharp change and painful loss, she becomes more herself and more aware of where she has come from. She finds family and belief, but still clings to her parents' secret. In Toyo, Lily Chan has pieced together the unconventional shape of her grandmother's story. Vibrant and ultimately heart-rending, Toyo is the chronicle of an extraordinary life, infused with a granddaughter's love.

    Le Guin as America’s greatest writer of science fiction, they just might have undersold her legacy. It’s hard to look at her vast body of work?novels and stories across multiple genres, poems, translations, essays, speeches, and criticism?and see anything but one of our greatest writers, period.In a series of interviews with David Naimon (Between the Covers), Le Guin discusses craft, aesthetics, and philosophy in her fiction, poetry, and nonfiction respectively. The discussions provide ample advice and guidance for writers of every level, but also give Le Guin a chance to to sound off on some of her favorite subjects: the genre wars, the patriarchy, the natural world, and what, in her opinion, makes for great writing. With excerpts from her own books and those that she looked to for inspiration, this volume is a treat for Le Guin’s longtime readers, a perfect introduction for those first approaching her writing, and a tribute to her incredible life and work.

    John McNally tells the story of two unlucky people who forge an improbable yet possibly life-saving connection in a world overshadowed by the Patriot Act and No Child Left Behind -- a world in which hulking government bureaucracies and vast corporations join forces to numb the populace into apathy with various standardization and surveillance programs. But McNally sees hope in the daily experiences of his characters: sometimes, haphazardly, by going about their own very particular lives, people circumvent the official program and begin to actively claim lives of freedom and dignity. "America's Report Card" is an arresting and humane portrait of life taking place in the margins, outside the stunted imagination of government and media. As in his critically acclaimed novel "The Book of Ralph", McNally dazzles with characters like Jainey O'Sullivan -- a lonely, confused, purple-and-green-haired sometime truant, Jainey cares so little about high school that on her final standardized test, she writes an essay heaping scorn on the test administrators even as she asks her faceless reader for help. Charlie Wolf leads a fairy-tale graduate student life, with just enough money and clout to keep him in books, vodka, a threadbare apartment, and a beautiful, intellectual girlfriend. But the bohemian dream starts to crumble when Charlie takes a job scoring standardized tests and finds himself surrounded by people who are either plodding blindly along or caught up in wild conspiracy theories.When Charlie and Jainey stumble upon one another, they also stumble upon their own bravery and compassion. They try to protect each other from their habitual bad luck and the shadowy threats lurking at the edges of their lives, and what ensues doesn't follow any prescribed course.The official version of American life today may get the broad strokes and primary colors right, but "America's Report Card" reveals how the government and the media overlook the corners and shadows where our individual realities unfold all too often in chaotic, precarious, and bewildering ways. This wholly original, wildly entertaining novel mirrors our part in the dark but frequently redemptive comedy that is life.

    With The Suit, Nicholas Antongiavanni provides a masterly manual on what it takes to succeed: advice on how to dress with style, flair, and an eye toward gaining power. That's because "business casual" has proved itself a one-way ticket to a lifetime in the corporate dungeon. But if you apply the sartorial advice proffered in The Suit to your clothes, you will project elegance, bravado, and success.Drawing inspiration from Machiavelli's The Prince, Antongiavanni has crafted an essential handbook for the ambitious man who recognizes that smart and stylish appearance is a lever to power. From neckties to footwear, belts to suspenders, lapels to handkerchiefs, The Suit leaves no garment or accessory untouched and will inject a dose of good taste into your closet. The debates over double-breasted vs. single, two-buttons vs. three, English vs. Italian, and many others are settled with wit by Antongiavanni's wealth of knowledge in the art of dress.The Suit is much more than a simple how-to manual -- Antongiavanni packs these pages with insightful and sometimes stinging commentary on celebrities and the clothes they wear. Leading public figures from David Letterman to Donald Rumsfeld are picked apart at the seams. Antongiavanni uses powerful men in the public eye as entertaining examples of how to dress properly and what garish mistakes to avoid. Whether you are already a corporate Prince -- or if you are a Joe Cubicle aspiring to be something greater -- The Suit will teach you how to make your clothes work for you. No matter what your physical build or your status in the workplace, let Nicholas Antongiavanni be your fashion consultant.

    Now author Paul Roland turns the tables with this brilliant new exposé - a fascinating psychological profile of the leading Nazis and their lesser-known associates.

    It is a remoteness that both perplexes and enthralls him.    Through dazzling sleight of hand in which the public becomes private and the private becomes public, the entire book—clicking from confession to family-album photograph to family chronicle to sexual fantasy to pseudo-scholarly footnote to reportage to personal essay to stand-up comedy to cultural criticism to literary criticism to film criticism to prose-poem to litany to outtake —becomes both an anatomy of American culture and a searing self-portrait.    David Shields reads his own life—reads our life—as if it were an allegory about remoteness and finds persuasive, hilarious, heartbreaking evidence wherever he goes.Winner of the PEN / Revson Award?

    On assignment in West Africa in a post-9/11 world, he is tasked with hunting down the terrorist Omar al-Suqqit, who is looking to launch his group of ragtag militants onto the international jihadi stage. But chasing a terrorist proves an easier challenge than managing his agency’s bureaucracy. Omar, meanwhile, faces his own bureaucratic struggles as he joins forces with a global terrorist group that begins micro-managing its franchises in an effort to streamline attacks. When Victor appears on his own country’s Terrorist Watch List and Omar finds himself struggling to write “Lessons Learned” in the suicide bomber program, they each realize they might have a common enemy: red tape.

    It has been translated into every major language on Earth and dozens of minor ones; it has spawned entire genres of animation, and had more books written about it than all but a handful of American Presidents. Even its minor characters have become iconic, and the titular family is recognizable in almost every corner of the planet. It is a definitive and truly global cultural phenomenon, perhaps the biggest of the television age. As of this writing, if you flip on FOX at 8pm on Sundays, you will see a program that bills itself as "The Simpsons". It is not "The Simpsons". That show, the landmark piece of American culture that debuted on 17 December 1989, went off the air more than a decade ago. The replacement is a hopelessly mediocre imitation that bears only a superficial resemblance to the original. It is the unwanted sequel, the stale spinoff, the creative dry hole that is kept pumping in the endless search for more money. It is Zombie Simpsons.

    Reissued for the 50th anniversary of the film of Chandler's novel, The Big Sleep, this evocative and elegant book juxtaposes excerpts of Chandler's tough, cynical prose with black-and-white photographs of the city he described as "no worse than others, a city rich and vigorous and full of pride, a city lost and beaten and full of emptiness." 100 photos.

     From the middle of December 1944 to January 25, 1945, more than a million Allied and German troops fought for control of Belgium, France, and Luxembourg. The bitter conflict ended with more than 200,000 dead and wounded on both sides. The German counteroffensive was Adolf Hitler's last gasp, born out of desperation as he came to grips with reports that the Third Reich was losing ground in battlefields across Europe. Even in its weakened state, Germany's assault took Allied leaders by surprise. Hitler had correctly calculated that the Allied armies had moved too rapidly: The troops were not only undersupplied but unprepared for a surprise attack. Hitler was betting that a victory would allow Germany to negotiate for peace on its terms. He was almost right. If not for the bravery of American troops, who against all odds held up the German attack – and quick decisions made by General Dwight B. Eisenhower - history may have taken a much different turn. This is the story of World War II's final showdown.

    Spy: The Funny Years will remind the magazine's million readers why they loved and depended on Spy and bring to a new generation the jewels of its reporting and writing, photography, illustration, design, and world-class mischief-making. It will demonstrate Spy's singular niche in American magazine and cultural history. But it is also intended to be enjoyed on its own: one beautiful volume containing Spy's funniest and most creative work, along with the ultimate insiders account of how it all came to be.All the best is here: Separated at Birth; Naked City; The Fine Print; Logrolling in Our Time; the Blurb-o-Mat; those hysterical (and now ubiquitous) charts; the inside stories on the New York Times and Hollywood by J.J. Hunsecker and Celia Brady; the covers; investigative features; and the hilarious stories on pretty much everyone who was anyone during the late 80s and early 90s. Not to mention the often grisly but always entertaining regular cast of characters from Spy's pages -- the churlish dwarf billionaires; beaver-faced moguls; bull-whip-wielding uber-agents; knobby-kneed socialites; and, of course, short-fingered vulgarians.During its heyday, from 1986 through 1993, Spy broke important ground in journalism and design, defining smartness for its generation. It was a once-in-a-lifetime creation that shaped the zeitgeist and succeeded (for a while) against all odds. Spy: The Funny Years will be the fun, stylish, hilarious holiday gift of the year.

    Chapters focus on the supernatural elements of the work, as well as the author´s treatment of the physical self.

    The end point of a story determines its meaning, and one of the main tasks a writer faces is to define the duration of a plot. Silber uses wide-ranging examples from F. Scott Fitzgerald, Chinua Achebe, and Arundhati Roy, among others, to illustrate five key ways in which time unfolds in fiction. In clear-eyed prose, Silber elucidates a tricky but vital aspect of the art of fiction.

    The two shared the same genius, the same childhood influences, and had the same literary instinct, but in Stanislaus it was channeled into sober academic pursuit, while in James it evolved into gaiety, wild whimsy, and at times sodden despair. Covering the first twenty-two years of James Joyce's life in Dublin and Trieste, My Brother's Keeper is a window onto the drama that was his youth. Thanks to Stanislaus's superb memory and sure hand, here we find the Dublin of Dubliners: the streets, neighbors, churches, and unforgettable eccentrics. Here we see the model for Ulysses' Simon Dedalus: James' father, a dour and violent figure when in his cups. Here are the Joyces in their own home, and the minor characters that pepper A Portrait of the Artist: Eileen, Leopold Bloom's comely daughter; Mrs. Riordan, the surly teacher; Mr. Casey, the political agitator. And finally, here is Trieste, a place of exile for Stanislaus but a retreat for James. Stanislaus Joyce has fashioned both an invaluable primary source for his brother's opaque masterpieces and a loving memoir of his brother's early life.

    Horrified by the prospect of having another son, considering what he and his two brothers did to their father, and ambivalent about the idea of living in a small, quaint town on eastern Long Island that seems an odd detour for a man destined for California, Gray comes to feel, of course, a profound affinity for his baby boy, born with the looks of a "wet, blue beaver." But this is not merely a father's account of an infant son; it's the story of his new life with his girlfriend Kathie; his regally precocious eleven-year-old stepdaughter, Marissa ("Please don't let me die a virgin!"); and his older son, Forrest, who stymies Gray time and again with his metaphysical inquisitiveness-"Daddy, what's behind the stars?" "How do flies celebrate?"A richly comic work about parenthood, about adults who don't grow up and children who do, Morning, Noon and Night stands as Gray's most mature work to date.