Leaving it open seemed to me to heighten the chances of getting the strongest and least predictable work. And so it was. They came at it from different angles, using different techniques, and each piece is unique. Perhaps the only common tacit assumption is that writing is difficult."-- From the "Introduction" by Frank Conroy Since its inception in 1936, the Iowa Writers' Workshop has been perched atop the creative writing landscape, producing some of the greatest writers of the century. Though no one claims that writing can be taught--the Workshop itself professes no method--there is no disputing the success of the program and its celebrated attendees. Of the 20 Pulitzers awarded for fiction and poetry in the ?90s, nine have gone to University of Iowa graduates.For "The Eleventh Draft, " present-day director Frank Conroy invited 23 former professors and students of the Iowa Writers' Workshop to pen essays on their craft. As he hints in his Introduction, he was looking for an eclecticism, and The Eleventh Draft is nothing if not diverse. Some pieces are deeply personal; others might have been scripted for the first day of class. They are sometimes prescriptive, often contradictory, but always eloquent and provocative."The Eleventh Draft"is an invaluable resource for aspiring and established writers, for lovers of literature, and for anyone intrigued by the writing process or the Workshop itself. If you have doubts, open this anthology and, as Conroy advises, "Listen up.

    Bookstores are filled with month-by-month pregnancy manuals, but the shelves are virtually empty of artful, entertaining, unvarnished accounts of labor and delivery—the stories that new mothers need most.     Here is a book that transcends the limits of how-to guides and honors the act of childbirth in the twenty-first century. Eleanor Henderson and Anna Solomon have gathered true birth stories by women who have made self-expression their business, including Cheryl Strayed, Julia Glass, Lauren Groff, Dani Shapiro, and many other luminaries.     In Labor Day, you’ll read about women determined to give birth naturally and others begging for epidurals; women who pushed for hours and women whose labors were over practically before they’d started; women giving birth to twins and to ten-pound babies. These women give birth in the hospital, at home, in bathtubs, and, yes, even in the car. Some revel in labor, some fear labor, some feel defeated by labor, some are fulfilled by it—and all are amazed by it. You will laugh, weep, squirm, perhaps groan in recognition, and undoubtedly gasp with surprise. And then you’ll call every mother or mother-to-be that you know and say “You MUST read Labor Day.”

    She followed with two other smash bestsellers: Cherry and Lit, which were critical hits as well.For thirty years Karr has also taught the form, winning graduate teaching prizes for her highly selective seminar at Syracuse, where she mentored such future hit authors as Cheryl Strayed, Keith Gessen, and Koren Zailckas. In The Art of Memoir, she synthesizes her expertise as professor and therapy patient, writer and spiritual seeker, recovered alcoholic and “black belt sinner,” providing a unique window into the mechanics and art of the form that is as irreverent, insightful, and entertaining as her own work in the genre.Anchored by excerpts from her favorite memoirs and anecdotes from fellow writers’ experience, The Art of Memoir lays bare Karr’s own process. (Plus all those inside stories about how she dealt with family and friends get told— and the dark spaces in her own skull probed in depth.) As she breaks down the key elements of great literary memoir, she breaks open our concepts of memory and identity, and illuminates the cathartic power of reflecting on the past; anybody with an inner life or complicated history, whether writer or reader, will relate.Joining such classics as Stephen King’s On Writing and Anne Lamott’s Bird by Bird, The Art of Memoir is an elegant and accessible exploration of one of today’s most popular literary forms—a tour de force from an accomplished master pulling back the curtain on her craft.

    In this exuberantly praised book — a collection of seven pieces on subjects ranging from television to tennis, from the Illinois State Fair to the films of David Lynch, from postmodern literary theory to the supposed fun of traveling aboard a Caribbean luxury cruiseliner — David Foster Wallace brings to nonfiction the same curiosity, hilarity, and exhilarating verbal facility that has delighted readers of his fiction, including the bestselling Infinite Jest.

    In her revealing family memoir, DeSalvo sifts through painful memories to give voice to all that remained unspoken and unresolved in her life: a mother's psychotic depression, a father's rage and violent rigidity, a sister's early depression and eventual suicide, and emerging memories of childhood incest. At times humorous and often brutally candid, DeSalvo also delves through the more recent conflicts posed by marriage, motherhood, and the crisis that started her on the path of her life's work: becoming a writer in order to excavate the meaning of her life and community.In Vertigo, Louise DeSalvo paints a striking picture of the easy freedom of the husband and fatherless world of working-class Hoboken, New Jersey, the neighborhood of her early childhood, where mothers and children had an unaccustomed say in the running of their lives while men were off defending their country, but were jolted back into submission when World War II ended. Hoboken was not a place where girls were encouraged to develop their minds, or their independent spirits, yet it is that tenement-dotted city with its pulse and energy, wonderful Italian pastry, and sidewalk roller-skating contests, and not suburban Ridgefield, where the family moves when Louise is seven, that claims Louise’s heart.Written with an honesty that is as rare as it is unsettling, Vertigo also speaks to broader truths about the impact of ethnicity, class, and gender in American life. Offering inspiration and a healthy dose of subversion, this personal story of a writer’s life is also a study of the alchemy between lived experience and creativity, and the life-transforming possibilities of this process.

    It is essentially a conversation among hundreds of women of all nationalities—famous, anonymous, religious, secular, married, single, young, old—on the subject of clothing, and how the garments we put on every day define and shape our lives. It began with a survey. The editors composed a list of more than fifty questions designed to prompt women to think more deeply about their personal style. Writers, activists, and artists including Cindy Sherman, Kim Gordon, Kalpona Akter, Sarah Nicole Prickett, Tavi Gevinson, Miranda July, Roxane Gay, Lena Dunham, and Molly Ringwald answered these questions with photographs, interviews, personal testimonies, and illustrations. Even our most basic clothing choices can give us confidence, show the connection between our appearance and our habits of mind, express our values and our politics, bond us with our friends, or function as armor or disguise. They are the tools we use to reinvent ourselves and to transform how others see us. Women in Clothes embraces the complexity of women’s style decisions, revealing the sometimes funny, sometimes strange, always thoughtful impulses that influence our daily ritual of getting dressed.

    Introduction by the Author.Contents:Isis by Zora Neale HurstonEconomics by Elizabeth Seydel MorganSarah by Tina McElroy AnsaStar in the valley by Mary Noailles MurfreeUgliest pilgrim by Doris BettsMusic by Ellen GilchristWide net by Eudora WeltyAfter Moore by Mary HoodWhite rat by Gayl JonesDare's gift by Ellen GlasgowFirst dark by Elizabeth SpencerShiloh by Bobbie Ann MasonGood country people by Flannery O'ConnorEveryday use by Alice WalkerYellow ribbons by Susie MeeTongues of fire by Lee SmithGospel song by Dorothy AllisonNew life by Mary Ward BrownGrave by Katherine Anne PorterAnd with a vengeance by Margaret GibsonThird of July by Elizabeth Cox

    In this classic work, now back in print, Olsen broke open the study of literature and discovered a lost continent—the writing of women and working-class people. From the excavated testimony of authors’ letters and diaries we learn the many ways the creative spirit, especially in those disadvantaged by gender, class and race, can be silenced. Olsen recounts the torments of Melville, the crushing weight of criticism on Thomas Hardy, the shame that brought Willa Cather to a dead halt, and struggles of Virginia Woolf, Olsen’s heroine and greatest exemplar of a writer who confronted the forces that would silence her. This 25th-anniversary edition includes Olsen’s now infamous reading lists of forgotten authors and a new introduction and author preface.

    Feminine form of flâneur [flanne-euhr], an idler, a dawdling observer, usually found in cities.That is an imaginary definition.'If the word flâneur conjures up visions of Baudelaire, boulevards and bohemia – then what exactly is a flâneuse?In this gloriously provocative and celebratory book, Lauren Elkin defines her as ‘a determined resourceful woman keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk’. Part cultural meander, part memoir, Flâneuse traces the relationship between the city and creativity through a journey that begins in New York and moves us to Paris, via Venice, Tokyo and London, exploring along the way the paths taken by the flâneuses who have lived and walked in those cities.From nineteenth-century novelist George Sand to artist Sophie Calle, from war correspondent Martha Gellhorn to film-maker Agnes Varda, Flâneuse considers what is at stake when a certain kind of light-footed woman encounters the city and changes her life, one step at a time.

    It takes us from backstage at the ballet to the trial of a woman for the murder of her newborn baby. It moves effortlessly from the significance of moving house to the pleasure of re-reading Pride and Prejudice.Everywhere I Look includes Garner's famous and controversial essay on the insults of age, her deeply moving tribute to her mother and extracts from her diaries, which have been part of her working life for as long as she has been a writer. Everywhere I Look glows with insight. It is filled with the wisdom of life.

    In truth, she is someone's daughter, mother, friend, confidante. She seduces husbands, breaks up marriages, and occasionally becomes a stepmother. Sometimes, she is even a victim. So who is this creature who arrives like a wrecking ball to destroy lives and families? She is the Other Woman--but she's only half the story. For every Other Woman, there is a wife or girlfriend whose relationship has been devastated--or surprisingly--blissfully liberated. Some women find themselves playing both roles during the course of a lifetime. With 21 insightful essays (20 written specifically for this anthology) from the list of America's most respected and award-winning female authors, this collection explores the highly personal, sometimes anguished, sometimes hilarious, but always compelling experiences of women on both sides of these highly charged and emotional situations.

    In her two decades of writing, Elinor Lipman has populated her fictional universe with characters so utterly real that we feel like they’re old friends. Now she shares an even more intimate world with us—her own—in essays that offer a candid, charming take on modern life. Looking back and forging ahead, she considers the subjects that matter most: childhood and condiments, long marriage and solo living, career and politics.Here you’ll find the lighthearted: a celebration of four decades of All My Children, a reflection on being Jewish in heavily Irish-Catholic Lowell on St. Patrick’s Day, a hilariously unflinching account of her tiptoe into online dating. But she also tackles the serious and profound in eloquent stories of unexpected widowhood and caring for elderly parents that use her struggles to illuminate ours. Whether for Lipman’s longtime readers or those who love the essays of Nora Ephron or Anna Quindlen, I Can't Complain is a diverting delight.

    Even the most arrogant female writer has to work over time to build an ego that is robust enough to get her through January, never mind all the way to December.' Deborah Levy

    Cultural Writing. Essays. A series of essays, ACADEMONIA is also an epic narrative of survival against institutional deadening and the proscriptiveness that shoots the young writer like poison darts from all sides. Here Bellamy, "explores the prickly intersection among these [institutional] spaces as it moves through institutions such as the academy, the experimental writing communities of the Bay Area, feminist and sexual identities, and group therapy. Continuing the work that she began in The Letters of Mina Harker pushing memoir and confession out of its safety zones and into its difficulties, this book provokes as it critiques and it critiques and yet at the same time manages to delight with its hope"-Juliana Spahr.

    She sold all her possessions and became a nomad. She wrote a book about her ongoing journey and, in 2001, insisted on putting her personal e-mail address in the last chapter—against all advice. It turned out to be a fortuitous decision. She has met thousands of readers, stayed in their homes, and sat around kitchen tables sharing stories and food and laughter. In this essay collection, Gelman includes her own further adventures, as well as those of writers and readers telling tales of the shared humanity they experienced in their travels. The stories are funny and sad, poignant and tender, familiar and bizarre. They will make you laugh and cry and maybe even send you off on your own adventure. Also included are fabulous international recipes such as vegetarian dolmades (stuffed grape leaves), chiles en nogada (stuffed poblano chiles topped with a white cream sauce with walnuts and a sprinkle of pomegranate seeds), and ho mok (an extraordinary fish-coconut custard from Thailand). Happy reading—and bon appétit, selamat makan, buen provecho!