In the process, he skillfully coaxes out a profound understanding of the men and women themselves, the context of their work, and how jazz—from horn blare to drum riff—is created conceptually. Expanding on his popular interviews for The New York Times, Ratliff speaks with Sonny Rollins, Ornette Coleman, Branford Marsalis, Dianne Reeves, Wayne Shorter, Joshua Redman, and others about the subtle variations in generation, training, and attitude that define their music.Playful and keenly insightful, The Jazz Ear is a revelatory exploration of a unique way of making and hearing music.

    

    Elsewhere might be revealed in the tract-house adventures of a home-décor reality show, at a discount funeral home in a strip mall, or in the story of an armed man named Honey Bear in the hunt for his beloved but now missing sleeper sofa which he left in a store unit. Off Ramp shows us America through the humorous gaze of Hank Stuever, who finds beauty in the midst of the most unlikely and invisible lives and places.

    We want to live a life of purpose and meaning. We want to leave a legacy for our children and grandchildren. We want to leave the world a better place. And yet we spend so much time wringing our hands over what’s wrong and not nearly enough time fixing those things within our control.John Kasich has walked the corridors of power both in the politics, as a former leader of Congress, governor of Ohio, presidential candidate, and in the private sector, as an in-demand public speaker, best-selling author and a strategic advisor to businesses and large non-profits. Yet he’s seen that the most powerful movements have started from the bottom up. Rather than waiting on Washington, the solutions happen once we become leaders in our own lives and communities. The strength and resilience of our nation lies in each of us. That’s what this book is about.In It’s Up to Us, Kasich shares the ten little ways we each can bring about big change. Taken together, they chart a path for each to follow as we look to live a life bigger than ourselves. Taken one-by-one, they can help to lift us from a place of outrage or complacency or helplessness and move us closer to our shared American dream.

    From humorous fishing excursions and frightening bear encounters to snow blinding blizzards and quirky characters, they come face to face with the unpredictable Mother Nature and learn the value of friendship, survival, and solitude in a picturesque but harsh life by the sea. Packed with adventures, challenges, and true Alaskan lifestyle.

    Greg Carlisle, author of the landmark Wallace study Elegant Complexity, provides an introduction that sets the scene and speculates on the future of Wallace studies. Editor David Hering provides a provocative look at the triangular symbols in Infinite Jest. Adam Kelly explores the intriguing question of why Wallace is considered to be at the forefront of a new sincerity in American fiction. Thomas Tracey discusses trauma in Oblivion. Gregory Phipps examines Infinite Jest's John "No Relation" Wayne and the concept of the ideal athlete. Daniel Turnbull compares Wallace's Kenyon College commencement address to the ethics of Iris Murdoch. These 17 essays stem from the first ever academic conference devoted the work of David Foster Wallace. Held in Liverpool, England, in 2009, the conference sparked a worldwide discussion of the place of Wallace's work in academia and popular culture. Essential for all Wallace scholars, fans of Wallace's fiction and nonfiction will also find the collection full of insights that span Wallace's career. Yes, there are footnotes.

    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.

    Anselmi covers the bands and musicians that have impacted those styles most―Black Sabbath, Candlemass, Melvins, Eyehategod, Godflesh, Neurosis, Saint Vitus, and many others―while diving into the cultural doom that has spawned such music, from the bombing of Birmingham and hurricane devastation of New Orleans to glaring economic inequality, industrial alienation, climate change, and widespread addiction. Along the way, Anselmi interweaves the musical experiences that have led him to proudly identify as one of the doomed.

    I’m the ditzy one that gives blondes a bad name’. Cappuccino and Chick-Chat is a riotous read about Debbie Viggiano’s candid observations in her often-chaotic world. Whether it’s losing her car, attempting cosmic ordering, freaking herself out manifesting a can of cola, or buying sweaters in shades that flatter her frequently flushed face, Debbie takes her reader on a madcap journey while trying to see the lighter side of life. It’s the perfect bedtime read. What readers are saying about Debbie’s books: ‘My favourite book this year… had me literally LAUGHING OUT LOUD… This book had me laughing and crying. I loved it and recommend it for everyone!’ Being Miss Meg, 5 stars ‘Absolutely hilarious. It is so easy for any woman to relate to this book… sooooo good. I read this in just a few hours as I simply couldn’t put it down. Go and grab your copy now. It’s one everyone will be talking about this year.’ Goodreads reviewer, 5 stars ‘Wow!... Honest, heartfelt and totally hilarious! Such an amazing read, I found myself either smiling or laughing constantly... Bl**dy brilliant!! I love it!... a must read for every woman this summer.’ Goodreads reviewer, 5 stars ‘Made me smile, giggle and laugh out loud. I loved it and would recommend it to anyone.’ Goodreads reviewer, 5 stars ‘Funny from the very beginning until the end, and there were some laugh out loud moments which I loved… I was reading this at 2am!... had me giggling away. I ended up reading this in one sitting, I just couldn't put it down. Thanks for one hell of a laugh Debbie!’The Bookend Reviews, 5 stars ‘Loved this book from the very first word.’ Goodreads reviewer, 5 stars ‘My first read of Debbie Viggiano, and I can't wait to read more!... Entertaining from beginning to end.’ Goodreads reviewer, 5 stars ‘Funny from beginning to end… quite often had me nodding in recognition of some of the situations.’ A Good Book and a Brew, 5 stars ‘OMGoodness – what a treat… a chuckly book, with a light heart.’ Goodreads reviewer, 5 stars ‘This author certainly knows how to make you laugh.’ 5 stars, B for Book Review,

    But it is also a terrifically engrossing exploration and exploitation of self-reflection, self-absorption, full-blown narcissism, and the impulse to write about oneself. In a world awash with memoirs and tell-alls, Shields has created something unique: he invites the reader into his mind as he turns his life into a narrative. With moving and often hilarious candor, Shields ruminates on a variety of subjects, all while exploring the impulse to confess, to use oneself as an autobiographical subject, to make one's life into a work of art.Shields explores the connections between fiction and nonfiction, stuttering and writing, literary forms and literary contents, art and life; he confronts bad reviews of his earlier books; he examines why he read a college girlfriend's journal; he raids a wide range of cultural figures (from Rousseau, Nabokov, and Salinger to Bill Murray, Adam Sandler, and Bobby Knight) for what they have to tell him about himself; he quotes a speech he wrote on the occasion of his father's ninetieth birthday and then gives us the guilt-induced dream he had when he failed to deliver the speech; he also writes about basketball and sexuality and Los Angeles and Seattle, but he is always meditating on the origins of his interest in autobiography, on the limits and appeals of autobiography, on the traps and strategies of it, and finally, how to use it to get to the world.The result is a collection of poetically charged self-reflections that reveal deep truths about ourselves as well.

    

    The result: "The most creative, generous, and democratic of any of the annual volumes" (Rick Moody).Among its numerous awards, the Pushcart Prize has been chosen for the Poets Writers / Barnes Noble "Writers for Writers" Award and the National Book Critics Circle Lifetime Achievement recognition.

    In this collection, including two never-before-published essays, Nussbaum writes about her passion for television that began with stumbling upon "Buffy the Vampire Slayer"—a show that was so much more than it appeared—while she was a graduate student studying Victorian literature. What followed was a love affair with television, an education, and a fierce debate about whose work gets to be called “great” that led Nussbaum to a trailblazing career as a critic whose reviews said so much more about our culture than just what’s good on television. Through these pieces, she traces the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And she explores the links between the television antihero and the rise of Donald Trump.The book is more than a collection of essays. With each piece, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that elevates one form of culture over another. It traces her own struggle to punch through stifling notions of “prestige television,” searching for a wilder and freer and more varied idea of artistic ambition—one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It’s a book that celebrates television as television, even as each year warps the definition of just what that might mean.

    

    But in her speech she was in a mood to consider her life, her legacy, her departure from the country she was now triumphantly returning to. “I was a devil in other countries, and I was a little devil in America, too,” she told the crowd. Inspired by these few words, Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the twenty-seven seconds in “Gimme Shelter” in which Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt—has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib’s own personal history of love, grief, and performance.Abdurraqib writes prose brimming with jubilation and pain, infused with the lyricism and rhythm of the musicians he loves. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space—from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio.