“The writers in this volume invite us into hidden places: a surgical pathologist’s laboratory, the boxing gym where a college professor and his student learn unexpected lessons about discipline, pain, and growing to adulthood. There are many discoveries to be made here, and I gladly invite the reader to an uncommonly rich and rewarding book.” — Kathleen Norris

    Each volume's series editor selects notable works from hundreds of periodicals. A special guest editor, a leading writer in the field, then chooses the very best twenty or so pieces to publish. This unique system has made the Best American series the most respected--and most popular--of its kind.The Best American Essays 2005 includesRoger Angell • Andrea Barrett • Jonathan Franzen • Ian Frazier • Edward Hoagland • Ted Kooser • Jonathan Lethem • Danielle Ofri • Oliver Sacks • Cathleen Schine • David Sedaris • Robert Stone • David Foster Wallace • and othersSusan Orlean, guest editor, is the author of My Kind of Place, The Orchid Thief, The Bullfighter Checks Her Makeup, and Saturday Night. A staff writer for The New Yorker since 1982, she has also written for Outside, Esquire, Rolling Stone, and Vogue.La vie en rose / Roger Angell --The sea of information / Andrea Barrett --Storm county / Paul Crenshaw --Joyas voladoras / Brian Doyle --Sister Bernadette's barking dog / Kitty Burns Florey --The comfort zone / Jonathan Franzen --If memory doesn't serve / Ian Frazier --Against exercise / Mark Greif --Small silences / Edward Hoagland --Small rooms in time / Ted Kooser --Speak, Hoyt-Schermerhorn / Jonathan Lethem --Mastering the art of French cooking / E.J. Levy --Contributor's note / Michael Martone --My friend Lodovico / David Masello --Living will / Danielle Ofri --Dog days / Sam Pickering --Speed / Oliver Sacks --Dog trouble / Cathleen Schine --Old faithful / David Sedaris --Six seconds / Paula Speck --Skill display in birding groups / Bert O. States --The prince of possibility / Robert Stone --Dining with robots / Ellen Ullman --Consider the lobster / David Foster Wallace --Satin worship / Holly Welker

    “An essay is the child of uncertainty,” André Aciman contends in his introduction to The Best American Essays 2020. “The struggle to write what one hopes is entirely true, and the long incubation every piece of writing requires of a writer who is thinking difficult thoughts, are what ultimately give the writing its depth, its magnitude, its grace.” The essays Aciman selected center on people facing moments of deep uncertainty, searching for a greater truth. From a Black father’s confrontation of his son’s illness, to a divorcée’s transcendent experience with strangers, to a bartender grieving the tragic loss of a friend, these stories are a master class not just in essay writing but in empathy, artfully imbuing moments of hardship with understanding and that elusive grace.  The Best American 2020 Essays includes  RABIH ALAMEDDINE • BARBARA EHRENREICH • LESLIE JAMISON JAMAICA KINCAID • ALEX MARZANO-LESNEVICH • A. O. SCOTT • JERALD WALKER • STEPHANIE POWELL WATTS and others

    For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to the twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected -- and most popular -- of its kind. Here you will find another "splendid array of unpredictable and delectable essays" (Booklist), chosen by the Pulitzer Prize-winning writer Louis Menand, another collection with "delights on every page" (Dallas Morning News). The Best American Essays once again earns its place as the liveliest and leading annual of its kind.

    Their essays often begin as love stories do, with the passion of something newly discovered: the crush of subway crowds, the streets filled with manic energy, and the sudden, unblinking certainty that this is the only place on Earth where one can become exactly who she is meant to be.They also share the grief that comes like a gut-punch, when the grand metropolis loses its magic and the pressures of New York's frenetic life wear thin for even the most dedicated dwellers. As friends move away, rents soar, and love—still—remains just out of reach, each writer's goodbye is singular and universal, just like New York itself.

    For each volume, the very best pieces are selected by a leading writer in the field, making the Best American series the most respected and most popular of its kind. "The Best American Nonrequired Reading 2011" includes Daniel Alarcon, Clare Beams, Sloane Crosley, Anthony Doerr, Neil Gaiman, Mohammed Hanif, Mac McClelland, Michael Paterniti, Olivier Schrauwen, Gary Shteyngart, and others"

    From her well-remembered New Yorker essays about the financial demands of big-city ambition and the ethereal, strangely old-fashioned allure of cyber relationships to her dazzlingly hilarious riff in Harper's about musical passions that give way to middle-brow paraphernalia, Daum delves into the center of things while closely examining the detritus that spills out along the way. She speaks to questions at the root of the contemporary experience, from the search for authenticity and interpersonal connection in a society defined by consumerism and media; to the disenchantment of working in a "glamour profession"; to the catastrophic effects of living among New York City's terminal hipsters. With precision and well-balanced irony, Daum implicates herself as readily as she does the targets that fascinate and horrify her. In a review of The KGB Bar Reader, in which Daphne Merkin singled out Daum's essay about the inability to mourn a friend's death, Merkin wrote: "It's brutally quick, the way this happens, this falling in love with a writer's style. Daum's story hooked me by the second line. Hmm, I thought, this is a writer worth suspending my routines for."

    The New Yorker has met this challenge more successfully and more originally than any other modern American journal. It has indelibly shaped the genre known as the Profile. Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail Baryshnikov and Richard Pryor, this collection of New Yorker Profiles presents readers with a portrait gallery of some of the most prominent figures of the twentieth century. These Profiles are literary-journalistic investigations into character and accomplishment, motive and madness, beauty and ugliness, and are unrivalled in their range, their variety of style, and their embrace of humanity.Including these twenty-eight profiles:"Mr. Hunter's Grave" by Joseph Mitchell "Secrets of the Magus" by Mark Singer "Isadora" by Janet Flanner "The Soloist" by Joan Acocella "Time . . . Fortune . . . Life . . . Luce" by Walcott Gibbs "Nobody Better, Better Than Nobody" by Ian Frazier "The Mountains of Pi" by Richard Preston "Covering the Cops" by Calvin Trillin "Travels in Georgia" by John McPhee "The Man Who Walks on Air" by Calvin Tomkins "A House on Gramercy Park" by Geoffrey Hellman "How Do You Like It Now, Gentlemen?" by Lillian Ross "The Education of a Prince" by Alva Johnston "White Like Me" by Henry Louis Gates, Jr. "Wunderkind" by A. J. Liebling "Fifteen Years of The Salto Mortale" by Kenneth Tynan "The Duke in His Domain" by Truman Capote "A Pryor Love" by Hilton Als "Gone for Good" by Roger Angell "Lady with a Pencil" by Nancy Franklin "Dealing with Roseanne" by John Lahr "The Coolhunt" by Malcolm Gladwell "Man Goes to See a Doctor" by Adam Gopnik "Show Dog" by Susan Orlean "Forty-One False Starts" by Janet Malcolm "The Redemption" by Nicholas Lemann "Gore Without a Script" by Nicholas Lemann "Delta Nights" by Bill Buford

    Since her death in 1965, her place in the landscape of twentieth-century fiction has grown only more exalted.As we approach the centenary of her birth comes this astonishing compilation of fifty-six pieces—more than forty of which have never been published before. Two of Jackson’s children co-edited this volume, culling through the vast archives of their mother’s papers at the Library of Congress, selecting only the very best for inclusion.Let Me Tell You brings together the deliciously eerie short stories Jackson is best known for, along with frank, inspiring lectures on writing; comic essays about her large, boisterous family; and whimsical drawings. Jackson’s landscape here is most frequently domestic: dinner parties and bridge, household budgets and homeward-bound commutes, children’s games and neighborly gossip. But this familiar setting is also her most subversive: She wields humor, terror, and the uncanny to explore the real challenges of marriage, parenting, and community—the pressure of social norms, the veins of distrust in love, the constant lack of time and space.For the first time, this collection showcases Shirley Jackson’s radically different modes of writing side by side. Together they show her to be a magnificent storyteller, a sharp, sly humorist, and a powerful feminist.This volume includes a foreword by the celebrated literary critic and Jackson biographer Ruth Franklin.

    A selection of the best writing, including fiction, nonfiction, poetry, and comics, published in American periodicals during during 2012 aimed at readers fifteen and up.

    They had some good times. There was a whiteboard in the conference room, and often cartoons were drawn on this whiteboard. The cartoons were of varying quality. By the end of the year, with the help of a similar committee of high school students in Ann Arbor, and their guest editor, Rachel Kushner, they selected the contents of this anthology. The Best American Nonrequired Reading 2016 features stories about Bulgarian spaceships, psychedelic mushroom therapy, and a cyclorama in Iowa. If you don’t know what a cyclorama is, you aren’t alone. Read on to find out.The Best American Nonrequired Reading 2016 includes N. R. KLEINFIELD,  ANNA KOVATCHEVA, DAN HOY, ANTHONY MARRA, MICHAEL POLLAN, MARILYNNE ROBINSON, DANA SPIOTTA, ADRIAN TOMINE, INARA VERZEMNIEKS and othersRachel Kushner, guest editor, is the author of The Flamethrowers, which was a finalist for the 2013 National Book Award and one of the New York Times’s top five novels of 2013. Kushner’s debut novel, Telex from Cuba, was a finalist for the 2008 National Book Award, a winner of the California Book Award, and a New York Times bestseller and Notable Book.

    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.

    The volume is edited each year by an esteemed writer who brings a fresh eye to the selections. Previous editors have included Elizabeth Hardwick, Susan Sontag, Geoffrey C. Ward, Cynthia Ozick, and Stephen Jay Gould. This year’s volume is terrifically diverse, with subjects ranging from driving lessons to animal rights to citizenship in times of emergency.

    For fans of the essays of John Jeremiah Sullivan and Jonathan Lethem.Named one of the best books of the year by The New York Times • The Wall Street Journal Katie Roiphe’s writing — whether in the form of personal essays, literary criticism, or cultural reporting — is bracing, wickedly entertaining, and deeply engaged with our mores and manners. In these pages, she turns her exacting gaze on the surprisingly narrow-minded conventions governing the way we live now. Is there a preoccupation with “healthiness” above all else? If so, does it lead insidiously to judging anyone who tries to live differently? Examining such subjects as the current fascination with Mad Men, the oppressiveness of Facebook (“the novel we are all writing”), and the quiet malice our society displays toward single mothers, Roiphe makes her case throughout these electric pages. She profiles a New York prep school grad turned dominatrix; isolates the exact, endlessly repeated ingredients of a magazine “celebrity profile”; and draws unexpected, timeless lessons from news-cycle hits such as Arnold Schwarzenegger’s “love child” revelations. On ample display in this book are Roiphe’s insightful, occasionally obsessive takes on an array of literary figures, including Jane Austen, John Updike, Susan Sontag, Joan Didion, and Margaret Wise Brown, the troubled author of Goodnight, Moon. And reprinted for the first time and expanded here is her much-debated New York Times Book Review cover piece, “The Naked and the Conflicted” — an unabashed argument on sex and the contemporary American male writer that is in itself an exciting and refreshing reminder that criticism matters. As steely-eyed in examining her own life as she is in skewering our cultural pitfalls, Roiphe gives us autobiographical pieces — on divorce, motherhood, an emotionally fraught trip to Vietnam, the breakup of a female friendship — that are by turns deeply moving, self-critical, razor-sharp, and unapologetic in their defense of “the messy life.”In Praise of Messy Lives is powerfully unified, vital work from one of our most astute and provocative voices.

    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.