The Hollywood legend talks about her four marriages, her leading men, her feud with a well-known co-star, her longing to have a child, and her favorite roles.

    The stunned public turned for solace to Debbie’s only remaining child, Todd Fisher, who somehow retained his grace and composure under the glare of the media spotlight as he struggled with his own overwhelming grief.The son of "America’s Sweethearts" Debbie Reynolds and Eddie Fisher, Todd grew up amid the glamorous wealth and pretense of Hollywood. Thanks to his funny, loving, no-nonsense mother, Todd remained down to earth, his own man, but always close to his cherished mom, and to his sister through her meteoric rise to stardom and her struggle with demons that never diminished her humor, talent, or spirit.Now, Todd shares his heart and his memories of Debbie and Carrie with deeply personal stories from his earliest years to those last unfathomable days. His book, part memoir, part homage, celebrates their legacies through a more intimate, poignant, and often hilarious portrait of these two remarkable women than has ever been revealed before.With thirty-two pages of never-before-seen photos and memorabilia from his family’s private archives, Todd’s book is a love letter to a sister and a mother, and a gift to countless fans who are mourning the deaths of these two unforgettable stars.

    In “Losing Nora,” she deftly captures the rivalry, mutual respect, and intimacy that made up her relationship with her older sister and frequent writing companion. “Blame It on the Movies” is Ephron’s wry and romantic essay about surviving her disastrous twenties, becoming a writer, and finding a storybook ending. “Bakeries” is both a lighthearted tour through her favorite downtown patisseries and a thoughtful, deeply felt reflection on the dilemma of having it all. From keen observations on modern living, the joy of girlfriends, and best-friendship, to a consideration of the magical madness and miracle of dogs, to haunting recollections of life with her famed screenwriter mother and growing up the child of alcoholics, Ephron’s eloquent style and voice illuminate every page of this superb and singular work.

    He was given four years to live. In 2010, in a state of lung-function collapse, Simon knew with crystal clarity that now was not his time to die. Against all prevailing medical opinion, he chose to ventilate in order to stay alive.Here, the young filmmaker, a husband and father of five small children draws us deeply into his inner world. Told in simply expressed and beautifully stark prose - in the vein of such memoirs as Jean-Dominique Bauby's The Diving Bell and the Butterfly - the result is an astonishing journey into a life which, though brutally compromised, is lived more fully and in the moment than most, revealing at its core the power of love its most potent.Written using an eye-gaze computer, It's Not Yet Dark is an unforgettable book about relationships and family, about what connects and separates us as people and, ultimately, about what it means to be alive.

    Enterprise, and beyond. Not a typical Hollywood memoir, "Warped Factors" is anything but aloof. Koenig's very human narrative is full of the kind of insecurities and quirks anyone can relate to. With wry, wit, striking candot, and a true gift for storytelling, Koenig takes us on a sometimes bumpy but often hilarious trip through his galaxy. Blind faith and a healty sense of irony seem to sustain him as he relates a steady stream of ancedote, including: Pitching a sotry to an NBC producer who is in the midst of having an out-of-body experience; Having a laoded gun placed in his ear by a jealous manager; Performing a controversial play that was interrupted by someone believed to be a member of the Amrican Nazi party dressed in the unifrom of a Chicken Delight delivery boy; Getting fired from a CBS movie of the week for staring at the director; Being mistaken for a bell hop during a public appearance in his "Star Trek" uniform; Declining a "Star Trek" convention attendee's invitation to help sacrifice a chicken in her hotel room.Of course, this amusing memoir also takes us behind the scenes of "Star Trek," with fresh perspecticves not only on the cast members themselves but also on the development and evolution of the megalithic sci-fi legend. In fact, Koenig includes a numer of the script ideas he himself pitched over the years including a proposal outline for "Star Trek IV" (one that saw the deaths of several main crew members including Kirk) and several for "The Next Generation" series.Finally, Koenig offers candid reflections not only on the "Star Trek" years but on his life and career since. Most notable are his well received stints on stage and his curent role as the insidious Alfred Bestger on television's "Babylon 5." Enjoying both critical and popular success, Koenig has once again confirmed his enduring position in science fiction's acting pantheon.

    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.

    Or so he kept telling himself. But, no matter how busy or tired he was, something kept niggling at him. Books. Books he'd always wanted to read. Books he'd said he'd read that he actually hadn't. Books that whispered the promise of escape from the daily grind. And so, with the turn of a page, Andy began a year of reading that was to transform his life completely.This book is Andy's inspirational and very funny account of his expedition through literature: classic, cult, and everything in between. Beginning with a copy of Bulgakov's Master and Margarita that he happens to find one day in a bookstore, he embarks on a literary odyssey. From Middlemarch to Anna Karenina to A Confederacy of Dunces, this is a heartfelt, humorous, and honest examination of what it means to be a reader, and a witty and insightful journey of discovery and soul-searching that celebrates the abiding miracle of the book and the power of reading.

    She writes about learning the art and craft of acting, about her Academy Award-winning portrayal of Maerose Prizzi in Prizzi's Honour, about her collaborations with many of the greatest directors in Hollywood, including Woody Allen, Wes Anderson, Richard Condon, Bob Rafelson, Francis Ford Coppola and Stephen Frears. She writes movingly and beautifully about the death of her father, the legendary director John Huston and her marriage to sculptor Robert Graham.

    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.

    A month later, none of that was true. Levy picks you up and hurls you through the story of how she built an unconventional life and then watched it fall apart with astonishing speed. Like much of her generation, she was raised to resist traditional rules—about work, about love, and about womanhood. “I wanted what we all want: everything. We want a mate who feels like family and a lover who is exotic, surprising. We want to be youthful adventurers and middle-aged mothers. We want intimacy and autonomy, safety and stimulation, reassurance and novelty, coziness and thrills. But we can’t have it all.” In this profound and beautiful memoir, Levy chronicles the adventure and heartbreak of being “a woman who is free to do whatever she chooses.” Her own story of resilience becomes an unforgettable portrait of the shifting forces in our culture, of what has changed—and of what is eternal.