And still, today, a wealth of novels, plays and films draw their inspiration from stories first told almost three thousand years ago. But modern tellers of Greek myth have usually been men, and have routinely shown little interest in telling women’s stories.Now, in Pandora’s Jar, Natalie Haynes – broadcaster, writer and passionate classicist – redresses this imbalance. Taking Greek creation myths as her starting point and then retelling the four great mythic sagas: the Trojan War, the Royal House of Thebes, Jason and the Argonauts, Heracles, she puts the female characters on equal footing with their menfolk. The result is a vivid and powerful account of the deeds – and misdeeds - of Hera, Aphrodite, Athene and Circe. And away from the goddesses of Mount Olympus it is Helen, Clytemnestra, Jocasta, Antigone and Medea who sing from these pages, not Paris, Agamemnon, Orestes or Jason.

    You renders the singular arc of a woman’s life through letters Mary-Louise Parker composes to the men, real and hypothetical, who have informed the person she is today. Beginning with the grandfather she never knew, the letters range from a missive to the beloved priest from her childhood to remembrances of former lovers to an homage to a firefighter she encountered to a heartfelt communication with the uncle of the infant daughter she adopted. Readers will be amazed by the depth and style of these letters, which reveal the complexity and power to be found in relationships both loving and fraught.

    A scathingly funny reinterpretation of the Ten Commandments from the larger, louder half of world-famous magic duo Penn and Teller reveals an atheist's experience in the world: from performing on the Vegas strip with Siegfried and Roy to children and fatherhood to his ongoing dialogue with proselytizers of the Christian Right and the joys of sex while scuba-diving, Penn has an outrageous sense of humor and a brilliantly entertaining opinion on, well, anything you care to think of.

    This is not one of those books. On the contrary, this is a collection of terrible, awkward, and laughably unreadable excerpts that will teach you what to avoid—at all costs—if you ever want your novel published.In How Not to Write a Novel, authors Howard Mittelmark and Sandra Newman distill their 30 years combined experience in teaching, editing, writing, and reviewing fiction to bring you real advice from the other side of the query letter. Rather than telling you how or what to write, they identify the 200 most common mistakes unconsciously made by writers and teach you to recognize, avoid, and amend them. With hilarious "mis-examples" to demonstrate each manuscript-mangling error, they'll help you troubleshoot your beginnings and endings, bad guys, love interests, style, jokes, perspective, voice, and more. As funny as it is useful, this essential how-NOT-to guide will help you get your manuscript out of the slush pile and into the bookstore.

    By the anniversary show a year later, the fanbase had exploded, vaulting the podcast into the #1 spot on iTunes. Since then, its popularity has grown by epic proportions, hitting more than 100 million downloads, and Night Vale has expanded to a successful live multi-cast international touring stage show and a New York Times bestselling novel. Now the first two seasons are available as books, offering an entertaining reading experience and a valuable reference guide to past episodes.Mostly Void, Partially Stars introduces us to Night Vale, a town in the American Southwest where every conspiracy theory is true, and to the strange but friendly people who live there.Mostly Void, Partially Stars features an introduction by creator and co-writer Joseph Fink, a foreword by Cory Doctorow, and behind-the-scenes commentary and guest introductions by performers from the podcast and notable fans, including Cecil Baldwin (Cecil), Dylan Marron (Carlos), and Kevin R. Free (Kevin) among others. Also included is the full script from the first Welcome to Night Vale live show, Condos. Beautiful illustrations by series artist Jessica Hayworth accompany each episode.Mostly Void, Partially Stars is an absolute must-have whether you’re a fan of the podcast or discovering for the first time the wonderful world of Night Vale.

    Be Very Afraid.From ghosts, vampires, and zombies to serial killers, cannibalistic hillbillies, and haunted Japanese videocassettes, How to Survive a Horror Movie shows how to defeat every obstacle found in scary films. Readers will discover:- How to Perform an Exorcism - What to Do If You Did Something Last Summer - How to Persuade the Skeptical Local Sheriff - How to Vanquish a Murderous Doll - How to Survive an Alien Invasion - How to Tell If You've Been Dead Since the Beginning of the Movieand much, much more. Complete with useful instructions, insane illustrations, and a list of 100 important films to study, How to Survive a Horror Movie is essential reading for prom queens, jocks, teenage babysitters, and anyone employed by a summer camp.

    This book from suicide-awareness organization Project Semicolon chronicles the global phenomenon of the semicolon tattoo, combining photos of individuals' tattoos with their stories about struggling with suicide and mental illness.

    Vowell tackles subjects such as identity, politics, religion, art, and history with a biting humor. She searches the streets of Hoboken for traces of the town's favorite son, Frank Sinatra. She goes under cover of heavy makeup in an investigation of goth culture, blasts cannonballs into a hillside on a father-daughter outing, and maps her family's haunted history on a road trip down the Trail of Tears. Vowell has an irresistible voice—caustic and sympathetic, insightful and double-edged—that has attracted a loyal following for her magazine writing and radio monologues on This American Life.

     In Our Women on the Ground, nineteen of these women tell us, in their own words, about what it's like to report on conflicts that are (quite literally) close to home. From sexual harassment on the streets of Cairo to the impossibility of traveling without a male relative in Yemen, their challenges are unique—as are their advantages, such as being able to speak candidly with other women or gain entry to places that an outsider would never be able to access. Their daring, shocking, and heartfelt stories, told here for the first time, shatter stereotypes about Arab women and provide an urgently needed perspective on a part of the world that is often misunderstood. INCLUDING ESSAYS BY: Donna Abu-Nasr, Aida Alami, Hannah Allam, Jane Arraf, Lina Attalah, Nada Bakri, Shamael Elnoor, Zaina Erhaim, Asmaa al-Ghoul, Hind Hassan, Eman Helal, Zeina Karam, Roula Khalaf, Nour Malas, Hwaida Saad, Amira Al-Sharif, Heba Shibani, Lina Sinjab, and Natacha Yazbeck

    Monsters have it tough. Besides being deeply misunderstood, they suffer from very real problems: Mummies have body image issues, Godzilla is going through an existential crisis, and creatures from the black lagoon face discrimination from creatures from the white lagoon. At heart, these monsters are human; after all, you are what you eat. Quirkily illustrated, Sad Monsters hilariously documents the trials and tribulations of all the undead creatures monster-mad readers have grown to love, from vampires and werewolves, to chupacabras and sphinxes, and even claw-footed bathtubs.

    These fourteen essays are a nostalgia-soaked antidote to the millennial generation's obsession with irony, putting the aesthetics we hate to love--snakeskin pants, Sex and the City, Cheesecake Factory's gargantuan menu--into kinder and sharper perspective.Each essay revolves around a different maligned (and yet, Rax would argue, vital) cultural artifact, providing thoughtful, even romantic meditations on desire, love, and the power of nostalgia. An essay about the gym-tan-laundry exuberance of Jersey Shore morphs into an excavation of grief over the death of her father; in You Wanna Be On Top, Rax writes about friendship and early aughts girlhood; in another, Guy Fieri helps her heal from an abusive relationship.The result is a collection that captures the personal and generational experience of finding joy in caring just a little too much with clarity, heartfelt honesty, and Rax King's trademark humor.A VINTAGE ORIGINAL

    Widely known for his roles in the films Big Fan and Ratatouille, as well as the television hit The King of Queens, Patton Oswalt—a staple of Comedy Central—has been amusing audiences for decades. Now, with Zombie Spaceship Wasteland, he offers a fascinating look into his most unusual, and lovable, mindscape. Oswalt combines memoir with uproarious humor, from snow forts to Dungeons & Dragons to gifts from Grandma that had to be explained. He remem­bers his teen summers spent working in a movie Cineplex and his early years doing stand-up. Readers are also treated to several graphic elements, includ­ing a vampire tale for the rest of us and some greeting cards with a special touch. Then there’s the book’s centerpiece, which posits that before all young creative minds have anything to write about, they will home in on one of three story lines: zom­bies, spaceships, or wastelands. Oswalt chose wastelands, and ever since he has been mining our society’s wasteland for perversion and excess, pop culture and fatty foods, indie rock and single-malt scotch. Zombie Spaceship Wasteland is an inventive account of the evolution of Patton Oswalt’s wildly insightful worldview, sure to indulge his legion of fans and lure many new admirers to his very entertaining “wasteland.”

    Included are two previously published articles in addition to commentaries written originally for National Public Radio's "All Things Considered".

    Her old encounters with overdrawn bank accounts and oversized ambitions in the big city have given way to a new set of challenges. The first essay, "Matricide," opens without flinching:People who weren't there like to say that my mother died at home surrounded by loving family. This is technically true, though it was just my brother and me and he was looking at Facebook and I was reading a profile of Hillary Clinton in the December 2009 issue of Vogue.Elsewhere, she carefully weighs the decision to have children—"I simply felt no calling to be a parent. As a role, as my role, it felt inauthentic and inorganic"—and finds a more fulfilling path as a court-appointed advocate for foster children. In other essays, she skewers the marriage-industrial complex and recounts a harrowing near-death experience following a sudden illness. Throughout, Daum pushes back against the false sentimentality and shrink-wrapped platitudes that surround so much of contemporary American experience and considers the unspeakable thoughts many of us harbor—that we might not love our parents enough, that "life's pleasures" sometimes feel more like chores, that life's ultimate lesson may be that we often learn nothing. But Daum also operates in a comic register. With perfect precision, she reveals the absurdities of the New Age search for the "Best Possible Experience," champions the merits of cream-of mushroom-soup casserole, and gleefully recounts a quintessential "only-in-L.A." story of playing charades at a famous person's home. Combining the piercing insight of Joan Didion with humor reminiscent of Nora Ephron's, Daum dissects our culture's most dangerous illusions, blind spots, and sentimentalities while retaining her own joy and compassion. Through it all, she dramatizes the search for an authentic self in a world where achieving an identity is never simple and never complete.

    In our language, in our stories (many written by men), we underline the idea that women who step out of bounds--who are angry or greedy or ambitious, who are overtly sexual or not sexy enough--aren't just outside the norm. They're unnatural. Monstrous. But maybe, the traits we've been told make us dangerous and undesirable are actually our greatest strengths.Through fresh analysis of 11 female monsters, including Medusa, the Harpies, the Furies, and the Sphinx, Jess Zimmerman takes us on an illuminating feminist journey through mythology. She guides women (and others) to reexamine their relationships with traits like hunger, anger, ugliness, and ambition, teaching readers to embrace a new image of the female hero: one that looks a lot like a monster, with the agency and power to match.Often, women try to avoid the feeling of monstrousness, of being grotesquely alien, by tamping down those qualities that we're told fall outside the bounds of natural femininity. But monsters also get to do what other female characters--damsels, love interests, and even most heroines--do not. Monsters get to be complete, unrestrained, and larger than life. Today, women are becoming increasingly aware of the ways rules and socially constructed expectations have diminished us. After seeing where compliance gets us--harassed, shut out, and ruled by predators--women have never been more ready to become repellent, fearsome, and ravenous.