Its Philosophy 101 for everyone who knows not to take all this heavy stuff too seriously. Some of the Big Ideas are Existentialism (what do Hegel and Bette Midler have in common?), Philosophy of Language (how to express what its like being stranded on a desert island with Halle Berry), Feminist Philosophy (why, in the end, a man is always a man), and much more. Finally it all makes sense!

    Distinguished from the  detached formal essay by its friendly, conversational tone, its loose structure, and its drive toward candor and self-disclosure, the personal essay seizes on the minutiae of daily life-vanities, fashions, foibles, oddballs, seasonal rituals, love and  disappointment, the pleasures of solitude, reading, taking a walk -- to offer insight into the human condition and the great social and political issues of the day. The Art of the Personal Essay is the first anthology to celebrate this fertile genre. By presenting more than seventy-five personal essays, including influential forerunners from ancient Greece, Rome, and the Far East, masterpieces from the dawn of the personal essay in the sixteenth century, and a wealth of the finest personal essays from the last four centuries, editor Phillip Lopate, himself an acclaimed essayist, displays the tradition of the personal essay in all its historical grandeur, depth, and diversity.

    For months Kantor and Twohey had been having confidential discussions with top actresses, former Weinstein employees and other sources, learning of disturbing long-buried allegations, some of which had been covered up by onerous legal settlements. The journalists meticulously picked their way through a web of decades-old secret payouts and nondisclosure agreements, pressed some of the most famous women in the world--and some unknown ones--to risk going on the record, and faced down Weinstein, his team of high-priced defenders, and even his private investigators. But nothing could have prepared them for what followed the publication of their Weinstein story. Within days, a veritable Pandora's Box of sexual harassment and abuse was opened, and women who had suffered in silence for generations began coming forward, trusting that the world would understand their stories. Over the next twelve months, hundreds of men from every walk of life and industry would be outed for mistreating their colleagues. But did too much change--or not enough? Those questions plunged the two journalists into a new phase of reporting and some of their most startling findings yet. With superlative detail, insight, and journalistic expertise, Kantor and Twohey take us for the first time into the very heart of this social shift, reliving in real-time what it took to get the story and giving an up-close portrait of the forces that hindered and spurred change. They describe the surprising journeys of those who spoke up--for the sake of other women, for future generations, and for themselves--and so changed us all.

    Whether he is describing his coming of age in America, his formative war experiences, or his life as an artist, this is Vonnegut doing what he does best: being himself. Whimsically illustrated by the author, A Man Without a Country is intimate, tender, and brimming with the scope of Kurt Vonnegut’s passions.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    What do an Italian cardinal, a Connecticut blacksmith, and a German diplomat have in common with an MIT linguist, a Hungarian translator, and a Scottish church organist? They were all "hyperpolyglots," "language superlearners," or "massive multilinguals." In Babel No More, Michael Erard delves into the lives and minds of these intriguing individuals both past and present and discovers the upper limit of the human ability to learn, speak, and remember languages. Hyperpolyglots - people who, by one definition, can use six or more languages - are fascinating not simply because what they do is out of the ordinary. Rather, their accomplishments serve as a point of reference for the rest of us; in some ways they are what the author calls a gifted neural tribe, absorbing language for reasons, and with methods, that few people would emulate. But they are also marked by simple, if dogged, methods: the most prolific multilingual in history, Cardinal Mezzofanti, used flashcards. Taken together, their pursuits present a natural experiment into the limits and the nature of memory and language. Part scientific detective story, part travelogue, part valentine to anyone who's ever hoped to sprechen or parler something other than a mother tongue, Babel No More takes us all over the world to look at language learning in an entirely new way.

    Or April, the Neo-Nazi bringing up her twin daughters Lamb and Lynx (who have just formed a white-power folk group for kids called Prussian Blue), and her youngest daughter, Dresden. For a decade now, Louis Theroux has been making programs about offbeat characters on the fringes of U.S. society. Now he revisits the people who have most intrigued him to try to discover what motivates them, and why they believe the things they believe. From his Las Vegas base (where else?), Theroux calls on these assorted dreamers, schemers, and outlaws--and in the process finds out a little about the workings of his own mind. What does it mean, after all, to be weird, or "to be yourself"? Do we choose our beliefs or do our beliefs choose us? And is there something particularly weird about Americans? America, prepare yourself for a hilarious look in the mirror that has already taken the rest of the English-speaking world by storm: "Paul Theroux's son writes with just as clear an eye for character and place as his father.... And he's funny.... Theroux's final analysis of American weirdness is true and new." -- Literary Review (England)

    . . But I think it is sometimes done—or very, very nearly done—in stories.”C.S. Lewis is widely known for his fiction, especially his stories of science fiction and fantasy, for which he was a pioneering author in an age of realistic fiction. In On Stories, he lays out his theories and philosophy on fiction over the course of nine essays, including “On Stories,” “The Death of Words,” and “On Three Ways of Writing for Children.” In addition to these essays, On Stories collects eleven pieces of Lewis’s writing that were unpublished during his lifetime. Along with discussing his own fiction, Lewis reviewed and critiqued works by many of his famous peers, including George Orwell, Charles Williams, Rider Haggard, and his good friend J.R.R. Tolkien, providing a wide-ranging look at what fiction means and how to craft it from one of the masters of his day.

    From the uncanny resilience of Chinese through twenty centuries of invasions to the engaging self-regard of Greek and to the struggles that gave birth to the languages of modern Europe, these epic achievements and more are brilliantly explored, as are the fascinating failures of once "universal" languages. A splendid, authoritative, and remarkable work, it demonstrates how the language history of the world eloquently reveals the real character of our planet's diverse peoples and prepares us for a linguistic future full of surprises.

    An experimental, violent prison unit. The death of an American city, as seen through a complex police investigation. A lawless frontier town trying to talk its way into the United States. A corrupt cop who rules his precinct like a warlord. The survivors of a plane crash trying to make sense of their disturbing new island home. A high school girl by day, monster fighter by night. A spy who never sleeps. A space odyssey inspired by 9/11. An embattled high school football coach. A polished ad exec with a secret. A chemistry teacher turned drug lord.These are the subjects of 12 shows that started a revolution in TV drama: The Sopranos. Oz. The Wire. Deadwood. The Shield. Lost. Buffy the Vampire Slayer. 24. Battlestar Galactica. Friday Night Lights. Mad Men. Breaking Bad.These 12 shows, and the many more they made possible, ushered in a new golden age of television — one that made people take the medium more seriously than ever before. Alan Sepinwall became a TV critic right before this creative revolution began, was there to chronicle this incredible moment in pop culture history, and along the way “changed the nature of television criticism,” according to Slate. The Revolution Was Televised is the story of these 12 shows, as told by Sepinwall and the people who made them, including David Chase, David Simon, David Milch, Damon Lindelof and Carlton Cuse, Vince Gilligan and more.

    When this guy is David Sedaris, the possibilities are endless, but the result is always the same: he will both delight you with twists of humor and intelligence and leave you deeply moved. Sedaris remembers his father's dinnertime attire (shirtsleeves and underpants), his first colonoscopy (remarkably pleasant), and the time he considered buying the skeleton of a murdered Pygmy. With Let's Explore Diabetes with Owls, David Sedaris shows once again why his work has been called "hilarious, elegant, and surprisingly moving" (Washington Post).

    White himself, the essays in this volume span a lifetime of writing and a body of work without peer.  "I have chosen the ones that have amused me in the rereading," he writes in the Foreword, "alone with a few that seemed to have the odor of durability clinging to them." These essays are incomparable; this is a volume to treasure and savor at one's leisure.

    In Will My Cat Eat My Eyeballs?, best-selling author and mortician Caitlin Doughty answers the most intriguing questions she’s ever received about what happens to our bodies when we die. In a brisk, informative, and morbidly funny style, Doughty explores everything from ancient Egyptian death rituals and the science of skeletons to flesh-eating insects and the proper depth at which to bury your pet if you want Fluffy to become a mummy. Now featuring an interview with a clinical expert on discussing these issues with young people—the source of some of our most revealing questions about death—Will My Cat Eat My Eyeballs? confronts our common fear of dying with candid, honest, and hilarious facts about what awaits the body we leave behind.

    Examining heroic myths in the light of modern psychology, it considers not only the patterns and stages of mythology but also its relevance to our lives today--and to the life of any person seeking a fully realized existence.Myth, according to Campbell, is the projection of a culture's dreams onto a large screen; Campbell's book, like Star Wars, the film it helped inspire, is an exploration of the big-picture moments from the stage that is our world. It is a must-have resource for both experienced students of mythology and the explorer just beginning to approach myth as a source of knowledge.

    All chapters in this best-seller have been substantially revised to reflect recent discoveries and new understanding of linguistics and languages.