Now she brings her vast experience, good cheer, and finely sharpened pencils to help the rest of us in a boisterous language book as full of life as it is of practical advice.Between You & Me features Norris's laugh-out-loud descriptions of some of the most common and vexing problems in spelling, punctuation, and usage—comma faults, danglers, "who" vs. "whom," "that" vs. "which," compound words, gender-neutral language—and her clear explanations of how to handle them. Down-to-earth and always open-minded, she draws on examples from Charles Dickens, Emily Dickinson, Henry James, and the Lord's Prayer, as well as from The Honeymooners, The Simpsons, David Foster Wallace, and Gillian Flynn. She takes us to see a copy of Noah Webster's groundbreaking Blue-Back Speller, on a quest to find out who put the hyphen in Moby-Dick, on a pilgrimage to the world's only pencil-sharpener museum, and inside the hallowed halls of The New Yorker and her work with such celebrated writers as Pauline Kael, Philip Roth, and George Saunders.Readers—and writers—will find in Norris neither a scold nor a softie but a wise and witty new friend in love with language and alive to the glories of its use in America, even in the age of autocorrect and spell-check. As Norris writes, "The dictionary is a wonderful thing, but you can't let it push you around."

    Written with his characteristic warmth, respect and humour, Masters asks you to join him in celebrating an unknown and important life left on the scrap heap.A Life Discarded is a biographical detective story. In 2001, 148 tattered and mould-covered notebooks were discovered lying among broken bricks in a skip on a building site in Cambridge. Tens of thousands of pages were filled to the edges with urgent handwriting. They were a small part of an intimate, anonymous diary, starting in 1952 and ending half a century later, a few weeks before the books were thrown out. Over five years, the award-winning biographer Alexander Masters uncovers the identity and real history of their author, with an astounding final revelation.A Life Discarded is a true, shocking, poignant, often hilarious story of an ordinary life. The author of the diaries, known only as ‘I’, is the tragicomic patron saint of everyone who feels their life should have been more successful. Part thriller, part love story, part social history, A Life Discarded is also an account of two writers’ obsessions: of ‘I’s need to record every second of life and of Masters’ pursuit of this mysterious yet universal diarist.

    She received a World Fantasy Award for Lifetime Achievement in 2007, as well as two Mythopoeic Awards and the Guardian Fiction Award for Charmed Life. But she was also a witty, entertaining speaker, a popular guest at science fiction and fantasy conventions and an engaged, scholarly critic of writing that interested her.This collection of more than twenty-five papers, chosen by Diana herself, includes fascinating literary criticism (such as a study of narrative structure in The Lord of the Rings and a ringing endorsement of the value of learning Anglo Saxon) alongside autobiographical anecdotes about reading tours (including an account of her famous travel jinx), revelations about the origins of her books, and thoughts in general about the life of an author and the value of writing. The longest autobiographical piece, 'Something About the Author', details Diana's extraordinary childhood and is illustrated with family photographs. Reflections is essential reading for anyone interested in Diana's works, fantasy or creative writing.The collection features a foreword by Neil Gaiman and an introduction and interview by Charlie Butler, a respected expert on fantasy writing.

    Leslie Jamison deftly excavates the stories we tell about addiction--both her own and others'--and examines what we want these stories to do, and what happens when they fail us.All the while, she offers a fascinating look at the larger history of the recovery movement, and at the literary and artistic geniuses whose lives and works were shaped by alcoholism and substance dependence, including John Berryman, Jean Rhys, Raymond Carver, Billie Holiday, David Foster Wallace, and Denis Johnson, as well as brilliant figures lost to obscurity but newly illuminated here.For the power of her striking language and the sharpness of her piercing observations, Jamison has been compared to such iconic writers as Joan Didion and Susan Sontag. Yet her utterly singular voice also offers something new. With enormous empathy and wisdom, Jamison has given us nothing less than the story of addiction and recovery in America writ large, a definitive and revelatory account that will resonate for years to come.

    James Joyce’s big blue book, Ulysses, ushered in the modernist era and changed the novel for all time. But the genius of Ulysses was also its danger: it omitted absolutely nothing. All of the minutiae of Leopold Bloom’s day, including its unspeakable details, unfold with careful precision in its pages. The New York Society for the Suppression of Vice immediately banned the novel as "obscene, lewd, and lascivious.” Joyce, along with some of the most important publishers and writers of his era, had to fight for years to win the freedom to publish it. The Most Dangerous Book tells the remarkable story surrounding Ulysses, from the first stirrings of Joyce’s inspiration in 1904 to its landmark federal obscenity trial in 1933.   Literary historian Kevin Birmingham follows Joyce’s years as a young writer, his feverish work on his literary masterpiece, and his ardent love affair with Nora Barnacle, the model for Molly Bloom. Joyce and Nora socialized with literary greats like Ezra Pound, Ernest Hemingway, T. S. Eliot and Sylvia Beach. Their support helped Joyce fight an array of anti-vice crusaders while his book was disguised and smuggled, pirated and burned in the United States and Britain. The long struggle for publication added to the growing pressures of Joyce’s deteriorating eyesight, finances and home life.   Salvation finally came from the partnership of Bennett Cerf, the cofounder of Random House, and Morris Ernst, a dogged civil liberties lawyer and founder of the ACLU. With their stewardship, the case ultimately rested on the literary merit of Joyce’s master work. The sixty-year-old judicial practices governing obscenity in the United States were overturned because a federal judge could get inside Molly Bloom’s head.   Birmingham’s archival work brings to light new information about both Joyce and the story surrounding Ulysses. Written for ardent Joyceans as well as novices who want to get to the heart of the greatest novel of the twentieth century, The Most Dangerous Book is a gripping examination of how the world came to say yes to Ulysses.

    But the man behind the mesmerizing stories has remained largely an enigma. A single-minded adventurer and an eternal child who gave us the iconic Willy Wonka and Matilda Wormwood, Dahl was better known during his lifetime for his blunt opinions on taboo subjects—he was called an anti-Semite, a racist and a misogynist—than for his creative genius. His wild imagination, dark humor and linguistic elegance were less than fully appreciated by critics and readers alike until after his death.Granted unprecedented access to the Dahl estate's extraordinary archives—personal correspondence, journals and interviews with family members and famous friends—Donald Sturrock draws on a wealth of previously unpublished materials that informed Dahl's writing and his life. It was a life filled with incident, drama and adventure: from his harrowing experiences as an RAF fighter pilot and his work in wartime intelligence, to his many romances and turbulent marriage to the actress Patricia Neal, to the mental anguish caused by the death of his young daughter Olivia. Tracing a brilliant yet tempestuous ascent toward notoriety, Sturrock sheds new light on Dahl's need for controversy, his abrasive manner and his fascination for the gruesome and the macabre.A remarkable biography of one of the world's most exceptional writers, Storyteller is an intimate portrait of an intensely private man hindered by physical pain and haunted by family tragedy, and a timely reexamination of Dahl's long and complex literary career.

      In The Violet Hour, Katie Roiphe takes an unexpected and liberating approach to the most unavoidable of subjects. She investigates the last days of five great thinkers, writers, and artists as they come to terms with the reality of approaching death, or what T. S. Eliot called “the evening hour that strives Homeward, and brings the sailor home from sea.”   Roiphe draws on her own extraordinary research and access to the family, friends, and caretakers of her subjects. Here is Susan Sontag, the consummate public intellectual, who finds her commitment to rational thinking tested during her third bout with cancer. Roiphe takes us to the hospital room where, after receiving the worst possible diagnosis, seventy-six-year-old John Updike begins writing a poem. She vividly re-creates the fortnight of almost suicidal excess that culminated in Dylan Thomas’s fatal collapse on the floor of a Greenwich Village tavern. She gives us a bracing portrait of Sigmund Freud fleeing Nazi-occupied Vienna only to continue in his London exile the compulsive cigar smoking that he knows will hasten his decline. And she shows us how Maurice Sendak’s beloved books for children are infused with his lifelong obsession with death, if you know where to look.  The Violet Hour is a book filled with intimate and surprising revelations. In the final acts of each of these creative geniuses are examples of courage, passion, self-delusion, pointless suffering, and superb devotion. There are also moments of sublime insight and understanding where the mind creates its own comfort. As the author writes, “If it’s nearly impossible to capture the approach of death in words, who would have the most hope of doing it?” By bringing these great writers’ final days to urgent, unsentimental life, Katie Roiphe helps us to look boldly in the face of death and be less afraid.

    She delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject.

    Mercer bought a book, and the staff invited him up for tea. Within weeks, he was living above the store, working for the proprietor, George Whitman, patron saint of the city's down-and-out writers, and immersing himself in the love affairs and low-down watering holes of the shop's makeshift staff. Time Was Soft There is the story of a journey down a literary rabbit hole in the shadow of Notre Dame, to a place where a hidden bohemia still thrives.

    Mockingbird is good reading."—Star-Tribune (Minneapolis)To Kill a Mockingbird—the twentieth century's most widely read American novel—has sold thirty million copies and still sells a million yearly. Yet despite her book's perennial popularity, its creator, Harper Lee, has become a somewhat mysterious figure. Now, after years of research, Charles J. Shields brings to life the warmhearted, high-spirited, and occasionally hardheaded woman who gave us two of American literature's most unforgettable characters—Atticus Finch and his daughter, Scout.At the center of Shields's evocative, lively book is the story of Lee's struggle to create her famous novel, but her colorful life contains many highlights—her girlhood as a tomboy in overalls in tiny Monroeville, Alabama; the murder trial that made her beloved father's reputation and inspired her great work; her journey to Kansas as Truman Capote's ally and research assistant to help report the story of In Cold Blood. Mockingbird—unique, highly entertaining, filled with humor and heart—is a wide-ranging, idiosyncratic portrait of a writer, her dream, and the place and people whom she made immortal.

    There’s a famous piece of writing advice—offered by Ernest Hemingway, Stephen King, and myriad writers in between—not to use -ly adverbs like “quickly” or “fitfully.” It sounds like solid advice, but can we actually test it? If we were to count all the -ly adverbs these authors used in their careers, do they follow their own advice compared to other celebrated authors? What’s more, do great books in general—the classics and the bestsellers—share this trait?In Nabokov’s Favorite Word Is Mauve, statistician and journalist Ben Blatt brings big data to the literary canon, exploring the wealth of fun findings that remain hidden in the works of the world’s greatest writers. He assembles a database of thousands of books and hundreds of millions of words, and starts asking the questions that have intrigued curious word nerds and book lovers for generations: What are our favorite authors’ favorite words? Do men and women write differently? Are bestsellers getting dumber over time? Which bestselling writer uses the most clichés? What makes a great opening sentence? How can we judge a book by its cover? And which writerly advice is worth following or ignoring?

    Dick is the magnificent and imaginative final work of an author who dedicated his life to questioning the nature of reality and perception, the malleability of space and time, and the relationship between the human and the divine. Edited and introduced by Pamela Jackson and Jonathan Lethem, this will be the definitive presentation of Dick’s brilliant, and epic, final work. In The Exegesis, Dick documents his eight-year attempt to fathom what he called "2-3-74," a postmodern visionary experience of the entire universe "transformed into information." In entries that sometimes ran to hundreds of pages, Dick tried to write his way into the heart of a cosmic mystery that tested his powers of imagination and invention to the limit, adding to, revising, and discarding theory after theory, mixing in dreams and visionary experiences as they occurred, and pulling it all together in three late novels known as the VALIS trilogy. In this abridgment, Jackson and Lethem serve as guides, taking the reader through the Exegesis and establishing connections with moments in Dick’s life and work.

    Mary Laura Philpott thought she’d cracked the code: Always be right, and you’ll always be happy. But once she’d completed her life’s to-do list (job, spouse, house, babies—check!), she found that instead of feeling content and successful, she felt anxious. Lost. Stuck in a daily grind of overflowing calendars, grueling small talk, and sprawling traffic. She’d done everything “right,” but she felt all wrong. What’s the worse failure, she wondered: smiling and staying the course, or blowing it all up and running away? And are those the only options? In this memoir-in-essays full of spot-on observations about home, work, and creative life, Philpott takes on the conflicting pressures of modern adulthood with wit and heart. She offers up her own stories to show that identity crises don’t happen just once or only at midlife; reassures us that small, recurring personal re-inventions are both normal and necessary; and advises that if you’re going to faint, you should get low to the ground first. Most of all, Philpott shows that when you stop feeling satisfied with your life, you don’t have to burn it all down and set off on a transcontinental hike (unless you want to, of course). You can call upon your many selves to figure out who you are, who you’re not, and where you belong. Who among us isn’t trying to do that? Like a pep talk from a sister, I Miss You When I Blink is the funny, poignant, and deeply affecting book you’ll want to share with all your friends, as you learn what Philpott has figured out along the way: that multiple things can be true of us at once—and that sometimes doing things wrong is the way to do life right.

    For as long as she could remember, Ashley has put her father on a pedestal. Despite having only vague memories of seeing him face-to-face, she believes he's the only person in the entire world who understands her. She thinks she understands him too. He's sensitive like her, an artist, and maybe even just as afraid of the dark. She's certain that one day they'll be reunited again, and she'll finally feel complete. There are just a few problems: he's in prison, and she doesn't know what he did to end up there.Through poverty, puberty, and a fraught relationship with her mother, Ashley returns to her image of her father for hope and encouragement. She doesn't know how to deal with the incessant worries that keep her up at night, or how to handle the changes in her body that draw unwanted attention from men. In her search for unconditional love, Ashley begins dating a boy her mother hates; when the relationship turns sour, he assaults her. Still reeling from the rape, which she keeps secret from her family, Ashley finally finds out why her father is in prison. And that's where the story really begins.Somebody’s Daughter steps into the world of growing up a poor Black girl, exploring how isolating and complex such a childhood can be. As Ashley battles her body and her environment, she provides a poignant coming-of-age recollection that speaks to finding the threads between who you are and what you were born into, and the complicated familial love that often binds them.

    Known for roles on the small screen such as "never-nude" Tobias Funke on "Arrested Development "and the role of "David" in "Mr. Show With Bob And David, "as well as a hugely successful stand-up routine full of sharp-tongued rants and rages, Cross has carved out his place in American comedy. Whether deflating the pomposity of religious figures, calling out the pathetic symbiosis of pseudo-celebrity and its leaching fandom, or merely pushing the buttons of the way-too-easily offended P.C. left or the caustic, double-standard of the callous (but funnier) right, Cross has something to say about everyone, including his own ridiculous self. Now, for the first time, Cross is weaving his media mockery, celebrity denunciation, religious commentary and sheer madness into book form, revealing the true story behind his almost existential distaste of Jim Belushi ("The Belush"), disclosing the up-to-now unpublished minutes to a meeting of Fox television network executives, and offering up a brutally grotesque run-in with Bill O'Reilly. And as if this wasn't enough for your laughing pleasure in these troubled times, some of the pieces splinter off with additional material being created online in exclusive video and animated web content created solely for the book-a historical first (presumably)! With a mix of personal essays, satirical fiction posing as truth, advice for rich people, information from America's least favorite Rabbi and a top-ten list of top-ten lists, I DRINK FOR A REASON is as unique as the comedian himself, and cannot be missed.