Yet away from the spotlight, Alicia has grappled with private heartache―over the challenging and complex relationship with her father, the people-pleasing nature that characterized her early career, the loss of privacy surrounding her romantic relationships, and the oppressive expectations of female perfection.Since her rise to fame, Alicia’s public persona has belied a deep personal truth: she has spent years not fully recognizing or honoring her own worth. After withholding parts of herself for so long, she is at last exploring the questions that live at the heart of her story: Who am I, really? And once I discover that truth, how can I become brave enough to embrace it?More Myself is part autobiography, part narrative documentary. Alicia’s journey is revealed not only through her own candid recounting, but also through vivid recollections from those who have walked alongside her. The result is a 360-degree perspective on Alicia’s path―from her girlhood in Hell’s Kitchen and Harlem, to the process of self-discovery she’s still navigating.In More Myself, Alicia shares her quest for truth―about herself, her past, and her shift from sacrificing her spirit to celebrating her worth. With the raw honesty that epitomizes Alicia’s artistry, More Myself is at once a riveting account and a clarion call to readers: to define themselves in a world that rarely encourages a true and unique identity.

    In Jane Austen, Shields follows this superb and beloved novelist from her early family life in Steventown to her later years in Bath, her broken engagement, and her intense relationship with her sister Cassandra. She reveals both the very private woman and the acclaimed author behind the enduring classics Sense and Sensibility, Pride and Prejudice, and Emma. With its fascinating insights into the writing process from an award–winning novelist, Carol Shields’s magnificent biography of Jane Austen is also a compelling meditation on how great fiction is created.

    You mean I peaked in December of 1963?I’m afraid so.But he never quit trying to impress her. In his writing, she was sometimes his subject and always his muse. The dedication of the first book he published after her death read, “I wrote this for Alice. Actually, I wrote everything for Alice.”In that spirit, Calvin Trillin has, with About Alice, created a gift to the wife he adored and to his readers.

    What propels this chronicle of her recovery is Sebold's indomitable spirit - as she struggles for understanding ("After telling the hard facts to anyone, from lover to friend, I have changed in their eyes"); as her dazed family and friends sometimes bungle their efforts to provide comfort and support; and as, ultimately, she triumphs, managing through grit and coincidence to help secure her attacker's arrest and conviction. In a narrative by turns disturbing, thrilling, and inspiring, Alice Sebold illuminates the experience of trauma victims even as she imparts wisdom profoundly hard-won: "You save yourself or you remain unsaved."

    B. White was obeying that oft-repeated maxim: "Write what you know." Helpless pigs, silly geese, clever spiders, greedy rats-White knew all of these characters in the barns and stables where he spent his favorite hours. Painfully shy his entire life, "this boy," White once wrote of himself, "felt for animals a kinship he never felt for people." It's all the more impressive, therefore, how many people have felt a kinship with E. B. White. With Charlotte's Web, which has gone on to sell more than 45 million copies, the man William Shawn called "the most companionable of writers" lodged his own character, the avuncular author, into the hearts of generations of readers.In The Story of Charlotte's Web, Michael Sims shows how White solved what critic Clifton Fadiman once called "the standing problem of the juvenile-fantasy writer: how to find, not another Alice, but another rabbit hole" by mining the raw ore of his childhood friendship with animals in Mount Vernon, New York. translating his own passions and contradictions, delights and fears, into an all-time classic. Blending White's correspondence with the likes of Ursula Nordstrom, James Thurber, and Harold Ross, the E. B. White papers at Cornell, and the archives of Harper Collins and the New Yorker into his own elegant narrative, Sims brings to life the shy boy whose animal stories--real and imaginary--made him famous around the world.

    A recent recipient of National Book Critics Circle Ivan Sandrof Lifetime Achievement Award, Oates, whose novels (Blonde, The Gravedigger’s Daughter, Little Bird of Heaven, etc.) rank among the very finest in contemporary American fiction, offers an achingly personal story of love and loss. A Widow’s Story is a literary memoir on a par with The Year of Magical Thinking by Joan Didion and Calvin Trillin’s About Alice.

    When she was fourteen years old, Maud wrote in her journal, "I love books. I hope when I grow up to be able to have lots of them." Not only did Maud grow up to own lots of books, she wrote twenty-four of them herself as L. M. Montgomery, the world-renowned author of Anne of Green Gables. For many years, not a great deal was known about Maud’s personal life. Her childhood was spent with strict, undemonstrative grandparents, and her reflections on writing, her lifelong struggles with anxiety and depression, her "year of mad passion," and her difficult married life remained locked away, buried deep within her unpublished personal journals. Through this revealing and deeply moving biography, kindred spirits of all ages who, like Maud, never gave up "the substance of things hoped for" will be captivated anew by the words of this remarkable woman.

    In this biography, Laura Thompson describes the Edwardian world in which she grew up, explores the relationships she had, including those with her two husbands and daughter, and investigates the mysteries still surrounding Christie's life - including her disappearance in 1926. Agatha Christie is a mystery and writing about her is a detection job in itself. But, with access to all of Christie's letters, papers and writing notebooks, as well as interviews with her grandson, daughter, son-in-law, and their living relations, Thompson is able to unravel not only the detailed workings of Christie's detective fiction but the truth behind her private life as well.

    In the tradition of Joan Baez and Joni Mitchell (she has been compared to both), a singer-songwriter of her kind had not emerged in decades. Now, with over 30 million albums sold worldwide, Jewel tells the story of her life and the lessons learned from her experience and her music.Living on a homestead in Alaska, Jewel learned to yodel at age three and joined her parents' act, working in hotels, honky-tonks, and biker bars. Behind a strong-willed and independent family life, with an emphasis on music and artistic talent, was also instability, abuse, and trauma.At age 15 Jewel was accepted into the prestigious Interlochen Arts Academy in Michigan, where she began writing her own songs as a means of expression. She was 18, homeless, and living out of her car in San Diego when a radio DJ aired a bootleg version of one of her songs. It was requested in the top-10 countdown, something unheard of for an unsigned artist. By age 21, her debut album went multiplatinum.There is so much more to Jewel's story, one complicated by family and financial woes, by crippling fear and insecurity, by parents who forced a child to grow up far too quickly, and by the extraordinary circumstances in which she became a world-famous singer and songwriter. Here Jewel reflects on how she survived and how writing songs, poetry, and prose have saved her life many times over. She writes beautifully about the natural wonders of Alaska, about pain and childhood trauma, and about discovering her own identity years after the entire world had discovered the beauty of her songs.

    Strengthened by each other’s presence, these groundbreaking judges, the first and second to serve on the highest court in the land, have transformed the Constitution and America itself, making it a more equal place for all women.Linda Hirshman’s dual biography includes revealing stories of how these trailblazers fought for their own recognition in a male-dominated profession—battles that would ultimately benefit every American woman. She also makes clear how these two justices have shaped the legal framework of modern feminism, including employment discrimination, abortion, affirmative action, sexual harassment, and many other issues crucial to women’s lives.Sisters-in-Law combines legal detail with warm personal anecdotes that bring these very different women into focus as never before. Meticulously researched and compellingly told, it is an authoritative account of our changing law and culture, and a moving story of a remarkable friendship.

    She tells of being poor, hopeful, and adrift in the city that became her great teacher; of the small apartment that, when she was nineteen, became the home in which she transformed herself; of how punk rock gave form and voice to her own fury and explosive energy.Solnit recounts how she came to recognize the epidemic of violence against women around her, the street harassment that unsettled her, the trauma that changed her, and the authority figures who routinely disdained and disbelieved girls and women, including her. Looking back, she sees all these as consequences of the voicelessness that was and still is the ordinary condition of women, and how she contended with that while becoming a writer and a public voice for women’s rights.She explores the forces that liberated her as a person and as a writer—books themselves, the gay men around her who offered other visions of what gender, family, and joy could be, and her eventual arrival in the spacious landscapes and overlooked conflicts of the American West. These influences taught her how to write in the way she has ever since, and gave her a voice that has resonated with and empowered many others.

    Its beloved antiheroine, Harriet, is erratic, unsentimental, and endearing-very much like the woman who created her, Louise Fitzhugh.Born in 1928, Fitzhugh was raised in segregated Memphis, but she soon escaped her cloistered world and headed for New York, where her expanded milieu stretched from the lesbian bars of Greenwich Village to the art world of postwar Europe, and her circle of friends included members of the avant-garde like Maurice Sendak and Lorraine Hansberry. Fitzhugh's novels, written in an era of political defiance, are full of resistance: to authority, to conformity, and even -- radically, for a children's author -- to make-believe.As a children's author and a lesbian, Fitzhugh was often pressured to disguise her true nature. Sometimes You Have to Lie tells the story of her hidden life and of the creation of her masterpiece, which remains long after her death as a testament to the complicated relationship between truth, secrecy, and individualism.

    She remembers the exhilaration of whipping a snowball at a car and having it hit straight on. She remembers playing with the skin on her mother's knuckles, which "didn't snap back; it lay dead across her knuckle in a yellowish ridge." She remembers the compulsion to spend a whole afternoon (or many whole afternoons) endlessly pitching a ball at a target. In this intoxicating account of her childhood, Dillard climbs back inside her 5-, 10-, and 15-year-old selves with apparent effortlessness. The voracious young Dillard embraces headlong one fascination after another--from drawing to rocks and bugs to the French symbolists. "Everywhere, things snagged me," she writes. "The visible world turned me curious to books; the books propelled me reeling back to the world." From her parents she inherited a love of language--her mother's speech was "an endlessly interesting, swerving path"--and the understanding that "you do what you do out of your private passion for the thing itself," not for anyone else's approval or desire. And one would be mistaken to call the energy Dillard exhibits in An American Childhood merely youthful; "still I break up through the skin of awareness a thousand times a day," she writes, "as dolphins burst through seas, and dive again, and rise, and dive."

    Drawing from the private archives of the poet's estate and numerous interviews, Alexis De Veaux demystifies Lorde's iconic status, charting her conservative childhood in Harlem; her early marriage to a white, gay man with whom she had two children; her emergence as an outspoken black feminist lesbian; and her canonization as a seminal poet of American literature.

    But there was only one person who knew Joan intimately, one person who the authorities would call when she got a little out of hand. Her daughter and best friend, Melissa. Joan and Melissa Rivers had one of the most celebrated mother-daughter relationships of all time. If you think Joan said some outrageous things to her audiences as a comedian, you won’t believe what she said and did in private. Her love for her daughter knew no bounds—or boundaries, apparently. ("Melissa, I acknowledge that you have boundaries. I just choose to not respect them.") In The Book of Joan: Tales of Mirth, Mischief and Manipulation, Melissa shares stories (like when she was nine months old and her parents delivered her to Johnny Carson as a birthday gift), bon mots (“Missy, is there anything better than seeing a really good looking couple pushing a baby that looks like a Sasquatch who got caught in a house fire?”), and life lessons from growing up in the Rosenberg-Rivers household (“I can do tips and discounts and figure out the number of gay men in an audience to make it a good show. That’s all the math you’ll ever need.”). These were just the tip of the iceberg when it came to life in the family that Melissa describes as more Addams than Cleaver. And at the center of it all was a tiny blond force of nature. In The Book of Joan: Tales of Mirth, Mischief and Manipulation, Melissa Rivers relates funny, poignant and irreverent observations, thoughts, and tales about the woman who raised her and is the reason she considers valium one of the four basic food groups.