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In this exuberant allegory, bestselling memoir and self-help author Martha Beck takes readers into the wild parts of the world and the human psyche. The story of Diana, Herself helps every reader chart a course for awakening to greater joy, adventure, and purpose.
Grandma Zwier was a remarkable woman. At ninety she was as sharp as one of the pins she used to hem her dresses. While serving tea and cookies in her little senior apartment one day, she abruptly turned to me and said, "Well, I sure haven't made a name for myself; maybe one of you grandkids will." That struck me forcefully, for two reasons. First, why would a poor immigrant woman with an eighth-grade education even think she could have made a name for herself? Second, grandma and millions of women like her should have made names for themselves. They were pioneers and saints who made America what it is today. Like many, she was born abroad, labored, struggled, prayed, loved, laughed, bore children, tilled virgin soil, sent sons to war, was widowed, cared for others' children, and much, much more. This book is my effort to honor her name and those of others like her. I hope that readers who not have "made a name for themselves" may also take comfort and inspiration from the story of her life.
Sally J. Freedman was ten when she made herself a movie star. She would have been happy to reach stardom in New Jersey, but in 1947 her older brother Douglas became ill, so the Freedman family traveled south to spend eight months in the sunshine of Florida. That’s where Sally met her friends Andrea, Barbara, Shelby, Peter, and Georgia Blue Eyes—and her unsuspecting enemy, Adolf Hitler. Dear Chief of Police: You don’t know me but I am a detective from New Jersey. I have uncovered a very interesting case down here. I have discovered that Adolf Hitler is alive and has come to Miami Beach to retire. He is pretending to be an old Jewish man... While she watches and waits, and keeps a growing file of letters under her bed, Sally’s Hitler will play an important—though not quite starring—role in one of her grandest movie spectaculars.
"A compelling and beautifully told story." —Kathleen Glasgow, New York Times bestselling author of Girl in Pieces From New York Times bestselling author Alyssa Sheinmel comes a dark psychological contemporary about a teenage girl who is institutionalized after an accident at her summer program, perfect for fans of We Were Liars and I'll Give You the Sun. Hannah knows there's been a mistake. She doesn't need to be institutionalized. What happened to her roommate at that summer program was an accident. As soon as the doctors and judge figure out that she isn't a danger to herself or others, she can go home to start her senior year. Those college applications aren't going to write themselves. Until then, she's determined to win over the staff and earn some privileges so she doesn't lose her mind to boredom. Then Lucy arrives. Lucy has her own baggage, and she's the perfect project to keep Hannah's focus off all she is missing at home. But Lucy may be the one person who can get Hannah to confront the secrets she's avoiding—and the dangerous games that landed her in confinement in the first place. Packed with intrigue and suspense, A Danger to Herself and Others is a good choice for readers who loved Suicide Notes for Beautiful Girls by Lynn Weingarten and Two Can Keep a Secret by Karen McManus A great pick for anyone who wants: emotional novels books about mental illness suspenseful reads Also by Alyssa Sheinmel: What Kind of Girl The Castle School (for Troubled Girls) Praise for A Danger to Herself and Others: "A thrilling page-turner."—School Library Journal, *STARRED REVIEW* "A tense and terrific read."—Natalie D. Richards, author of One Was Lost and Six Months Later "A great story full of mystery, heartbreak, and hope."— Jennifer Shaw Wolf, author of Dead Girls Don't Lie and Breaking Beautiful "Intense, compelling, and wholly original."—Kerry Kletter, author of The First Time She Drowned "This compelling character study begins like a thriller—the mystery of what happened to her friend Agnes draws considerable suspense... it becomes a nuanced exploration of mental illness."—Booklist "A respectful, authentic rendering of mental illness and treatment."—Kirkus
Poems recount the stories of fourteen girls, some of whom later became famous, who performed acts of daring, determination, and heroic courage at a young age.
From Amanda Lovelace, a poetry collection in four parts: the princess, the damsel, the queen, and you. The first three sections piece together the life of the author while the final section serves as a note to the reader. This moving book explores love, loss, grief, healing, empowerment, and inspiration. the princess saves herself in this one is the first book in the "women are some kind of magic" series.
The Art of the CEOBy Bart JacksonHere at last, top chief executive officers from across the globe reveal the proven techniques for those shouldering business' ultimate leadership challenge. Those executives taking aim at the big chair, will discover the full range of training, skills to be cultivated, and methods for career enhancement. For CEOs already walking the command tightrope, this book effectively guides them through the crescendo of responsibility, detailing success techniques for grooming C-suite and board, the army of employees and clients, and the onto the entire community. 'Tis an enjoyable read, told concisely, clearly, with frequent dashes of humor - even cartoons.Paperback, 6” x 9”, 160 Pages; $16.95
Eighteenth century Britain thought of itself as a polite, sentimental, enlightened place, but often its literature belied this self-image. This was an age of satire, and the century's novels, poems, plays, and prints resound with mockery and laughter, with cruelty and wit. The street-level invective of Grub Street pamphleteers is full of satire, and the same accents of raillery echo through the high scepticism of the period's philosophers and poets, many of whom were part-time pamphleteers themselves. The novel, a genre that emerged during the eighteenth century, was from the beginning shot through with satirical colours borrowed from popular romances and scandal sheets. This Handbook is a guide to the different kinds of satire written in English during the 'long' eighteenth century. It focuses on texts that appeared between the restoration of the Stuart monarchy in 1660 and the outbreak of the French Revolution in 1789. Outlier chapters extend the story back to first decade of the seventeenth century, and forward to the second decade of the nineteenth. The scope of the volume is not confined by genre, however. So prevalent was the satirical mode in writing of the age that this book serves as a broad and characteristic survey of its literature. The Oxford Handbook of Eighteenth-Century Satire reflects developments in historical criticism of eighteenth-century writing over the last two decades, and provides a forum in which the widening diversity of literary, intellectual, and socio-historical approaches to the period's texts can come together.
A guide to the art of personal writing, by the author of Fierce Attachments and The End of the Novel of Love All narrative writing must pull from the raw material of life a tale that will shape experience, transform event, deliver a bit of wisdom. In a story or a novel the "I" who tells this tale can be, and often is, an unreliable narrator but in nonfiction the reader must always be persuaded that the narrator is speaking truth. How does one pull from one's own boring, agitated self the truth-speaker who will tell the story a personal narrative needs to tell? That is the question The Situation and the Story asks--and answers. Taking us on a reading tour of some of the best memoirs and essays of the past hundred years, Gornick traces the changing idea of self that has dominated the century, and demonstrates the enduring truth-speaker to be found in the work of writers as diverse as Edmund Gosse, Joan Didion, Oscar Wilde, James Baldwin, or Marguerite Duras. This book, which grew out of fifteen years teaching in MFA programs, is itself a model of the lucid intelligence that has made Gornick one of our most admired writers of nonfiction. In it, she teaches us to write by teaching us how to read: how to recognize truth when we hear it in the writing of others and in our own.