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Hilarious and cutting essays about self-preservation, betrayal, family, gay sex, mental illness, and the inherently flawed way we live and love.
"Sleep is one of the most important but least understood aspects of our life, wellness, and longevity ... An explosion of scientific discoveries in the last twenty years has shed new light on this fundamental aspect of our lives. Now ... neuroscientist and sleep expert Matthew Walker gives us a new understanding of the vital importance of sleep and dreaming"--Amazon.com.
This is your brain on Grant Petersen: Every comfortable assumption you have about a subject is turned upside down, and by the time you finish reading you feel challenged, energized, and smarter. In Just Ride—“the bible for bicycle riders” (Dave Eggers, New York Times Book Review)—Petersen debunked the bicycle racing– industrial complex and led readers back to the simple joys of getting on a bike. In Eat Bacon, Don’t Jog, Petersen upends the last 30 years of conventional health wisdom to offer a clear path to weight loss and fitness. In more than 100 short, compelling directives, Eat Bacon, Don’t Jog shows why we should drop the carbs, embrace fat, and hang up our running shoes, with the latest science to back up its claims. Diet and Exercise make up the bulk of the book, with food addressed in essays such as “Carbohydrate Primer”—and why it’s okay to eat less kale—and “You’ll Eat Less Often If You Eat More Fat.” The exercise chapters begin with “Don’t Jog” (it just makes you hungry and trains muscle to tolerate more jogging while raising stressors like cortisol) and lead to a series of interval-training exercises and a suite of kettlebell lifts that greatly enhance strength and endurance. The balance of the book explains the science of nutrition and includes more than a dozen simple and delicious carb-free recipes. Thirty years ago Grant Petersen was an oat-bran-, egg-white-, lean-meat-eating exercise fanatic who wasn’t in great shape despite all that. Today, at sixty, he is in the best shape of his life with the blood panel to prove it.
"A fiercely honest and beautifully written book." —Paul Austin, author, Beautiful Eyes and Something for the PainA cautionary tale of careless psychiatric diagnosis, treatment, and resilienceSawyer's memoir is a harrowing, heroic, and redeeming story of her battle with mental illness, and her triumph in overcoming it. In 1960, as a suicidal teenager, Sawyer was institutionalized, misdiagnosed, and suffered through 89 electroshock treatments before being transferred, labeled as "unimproved." The damage done has haunted her life. Discharged in 1966, after finally receiving proper psychiatric care, Sawyer kept her past secret and moved on to graduate from Yale University, raise two children, and become a respected psychotherapist. That is, until 2001, when she reviewed her hospital records and began to remember a broken childhood and the even more broken mental health system of the 1950s and 1960s.
Reflections on topics from war and crime to pop culture, in “a stunning collection . . . from the best essayist of his generation” (The New York Times). For more than two decades, Andrew O’Hagan has been publishing celebrated essays on both sides of the Atlantic. The Atlantic Ocean highlights the best of his clear-eyed, brilliant work, including his first published essay, a reminiscence of his working-class Scottish upbringing; an extraordinary piece about the lives of two soldiers, one English, one American, both of whom died in Iraq on May 2, 2005; and a piercing examination of the life of William Styron. O’Hagan’s subjects range from the rise of the tabloids to the aftermath of Hurricane Katrina, from the trajectory of the Beatles to the impossibility of not fancying Marilyn Monroe—in essays that are “stupendously unflinching, bursting with possibility” (Booklist, starred review). “A brilliant essayist, [O’Hagan] constructs sentences that pierce like pinpricks.” —Publishers Weekly, starred review
Anne Carson's poetry - characterized by various reviewers as "short talks", "essays", or "verse narratives" - combines the confessional and the critical in a voice all her own. Known as a remarkable classicist, Anne Carson in Glass, Irony and God weaves contemporary and ancient poetic strands with stunning style. This collection includes: "The Glass Essay", a powerful poem about the end of a love affair, told in the context of Carson's reading of the Bronte sisters; "Book of Isaiah", a poem evoking the deeply primitive feel of ancient Judaism; and "The Fall of Rome", about her trip to "find" Rome and her struggle to overcome feelings of a terrible alienation there.
FINALIST FOR THE 2021 BOOKER PRIZE & A NEW YORK TIMES TOP 10 BOOK OF 2021 WINNER OF THE DYLAN THOMAS PRIZE “A book that reads like a prose poem, at once sublime, profane, intimate, philosophical, witty and, eventually, deeply moving.” —New York Times Book Review, Editors’ Choice “Wow. I can’t remember the last time I laughed so much reading a book. What an inventive and startling writer…I’m so glad I read this. I really think this book is remarkable.” —David Sedaris From "a formidably gifted writer" (The New York Times Book Review), a book that asks: Is there life after the internet? As this urgent, genre-defying book opens, a woman who has recently been elevated to prominence for her social media posts travels around the world to meet her adoring fans. She is overwhelmed by navigating the new language and etiquette of what she terms "the portal," where she grapples with an unshakable conviction that a vast chorus of voices is now dictating her thoughts. When existential threats--from climate change and economic precariousness to the rise of an unnamed dictator and an epidemic of loneliness--begin to loom, she posts her way deeper into the portal's void. An avalanche of images, details, and references accumulate to form a landscape that is post-sense, post-irony, post-everything. "Are we in hell?" the people of the portal ask themselves. "Are we all just going to keep doing this until we die?" Suddenly, two texts from her mother pierce the fray: "Something has gone wrong," and "How soon can you get here?" As real life and its stakes collide with the increasingly absurd antics of the portal, the woman confronts a world that seems to contain both an abundance of proof that there is goodness, empathy, and justice in the universe, and a deluge of evidence to the contrary. Fragmentary and omniscient, incisive and sincere, No One Is Talking About This is at once a love letter to the endless scroll and a profound, modern meditation on love, language, and human connection from a singular voice in American literature.
Hard-Boiled Bugs for Breakfast is guaranteed to make readers laugh, imagine, write, and dream. “A quick-witted delight.”—Kirkus Reviews (starred review) “Perfectly in pitch.”—Publishers Weekly (starred review) “A well-written, must-have collection of poems.”—School Library Journal (starred review) A collection from the celebrated inaugural Young People’s Poet Laureate and bestselling poet Jack Prelutsky, featuring more than one hundred original poems! From a lizard playing a mandolin (although not very well) to the surprised guest of honor (at a birthday party he threw for himself), there’s something for everyone in Jack Prelutsky’s Hard-Boiled Bugs for Breakfast. Illustrator Ruth Chan’s lively and hilarious black-and-white art jumps off the page and illuminates a wide array of poetic forms, from haiku to concrete poems and everything in between. This collection is full of the wit, humor, and imagination that has made Jack Prelutsky a household name and one of the most beloved poets for children. His poetry books for kids include such favorites as A Pizza the Size of the Sun and The New Kid on the Block. Includes black-and-white line art on every page, plus an index.
Historically, few topics have attracted as much scholarly, professional, or popular attention as food and eating--as one might expect, considering the fundamental role of food in basic human survival. Almost daily, a new food documentary, cooking show, diet program, food guru, or eating movement arises to challenge yesterday's dietary truths and the ways we think about dining. This work brings together voices from a wide range of disciplines, providing a fascinating feast of scholarly perspectives on food and eating practices, contemporary and historic, local and global. Nineteen essays cover a vast array of food-related topics, including the ever-increasing problems of agricultural globalization, the contemporary mass-marketing of a formerly grassroots movement for organic food production, the Food Network's successful mediation of social class, the widely popular phenomenon of professional competitive eating and current trends in "culinary tourism" and fast food advertising. Instructors considering this book for use in a course may request an examination copy here.
After years of futon passion, Hemingway discussions, and three-mile runs, Jill Talbot’s relationship with a man carved in her doubts so deep she wrote to ignore them. And even though he was as unwilling to commit to a place or a job as Talbot was to marrying him, he insisted that she keep the baby when a pregnancy surprised them during their fourth year together. As it turned out, Kenny wasn't able to commit to a child either, so when the court ordered visitation and support for their four-month-old daughter, he vanished. His disappearing act was the catalyst for Talbot’s own, as she moved her daughter through nine states in as many years—running from the memory of their failed relationship and the hope of an impossible reunion, all the while raising a daughter on her own. Then, one day while packing boxes, she found a photograph that changed everything. In this memoir-in-essays, Talbot attempts to set the record straight, even as she argues that our shared histories are merely competing stories we choose to tell ourselves. A bold look at the challenges of love and the struggles of a single mother in America today, The Way We Weren't tells a complex, unforgettable story of loss and leaving, and of how Talbot learned that writing can't bring anything back, but that because of it, nothing is ever really lost.