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When Julia Ridley Smith’s parents died, they left behind a virtual museum of furniture, books, art, and artifacts. Between the contents of their home, the stock from their North Carolina antiques shop, and the ephemera of two lives lived, Smith faced a monumental task. What would she do with her parents’ possessions? Smith’s wise and moving memoir in essays, The Sum of Trifles, peels back the layers of meaning surrounding specific objects her parents owned, from an eighteenth-century miniature to her father’s prosthetics. A vintage hi-fi provides a view of her often tense relationship with her father, whose love of jazz kindled her own artistic impulse. A Japanese screen embodies her mother’s principles of good taste and good manners, while an antebellum quilt prompts Smith to grapple with her family’s slaveholding legacy. Along the way, she turns to literature that illuminates how her inheritance shaped her notions of identity and purpose. The Sum of Trifles offers up dark humor and raw feeling, mixed with an erudite streak. It’s a curious, thoughtful look at how we live in and with our material culture and how we face our losses as we decide what to keep and what to let go.
A renowned scholar investigates the "human crisis” that Albert Camus confronted in his world and in ours, producing a brilliant study of Camus’s life and influence for those readers who, in Camus's words, “cannot live without dialogue and friendship.” As France—and all of the world—was emerging from the depths of World War II, Camus summed up what he saw as "the human crisis”: We gasp for air among people who believe they are absolutely right, whether it be in their machines or their ideas. And for all who cannot live without dialogue and the friendship of other human beings, this silence is the end of the world. In the years after he wrote these words, until his death fourteen years later, Camus labored to address this crisis, arguing for dialogue, understanding, clarity, and truth. When he sailed to New York, in March 1946—for his first and only visit to the United States—he found an ebullient nation celebrating victory. Camus warned against the common postwar complacency that took false comfort in the fact that Hitler was dead and the Third Reich had fallen. Yes, the serpentine beast was dead, but “we know perfectly well,” he argued, “that the venom is not gone, that each of us carries it in our own hearts.” All around him in the postwar world, Camus saw disheartening evidence of a global community revealing a heightened indifference to a number of societal ills. It is the same indifference to human suffering that we see all around, and within ourselves, today. Camus’s voice speaks like few others to the heart of an affliction that infects our country and our world, a world divided against itself. His generation called him “the conscience of Europe.” That same voice speaks to us and our world today with a moral integrity and eloquence so sorely lacking in the public arena. Few authors, sixty years after their deaths, have more avid readers, across more continents, than Albert Camus. Camus has never been a trend, a fad, or just a good read. He was always and still is a companion, a guide, a challenge, and a light in darkened times. This keenly insightful story of an intellectual is an ideal volume for those readers who are first discovering Camus, as well as a penetrating exploration of the author for all those who imagine they have already plumbed Camus’ depths—a supremely timely book on an author whose time has come once again.
An exquisitely written and nuanced biography of an exceptional individual and writer who has created the # 1 international bestselling hero Jack Reacher, revered by dedicated and loyal readers worldwide. Lee Child has a great public persona: he is gracious and generous with readers and fans. But Jim Grant is a reticent and very private man. This rags-to-riches literary and social biography is based principally on disarmingly frank personal conversations and correspondence with the author since 2016 and privileged access to archival materials. It consists almost entirely of original material, and is the nearest thing the world is likely to get to the autobiography he does not intend to write. There are a handful of great Lee Child/Reacher stories that have been recycled over and over again. They are so good that no one has bothered to look beyond them. This book revisits (and sometimes revises) those irresistible stories, but goes back further and digs deeper. The emphasis on chronology, accuracy and specificity is unprecedented. The Lee Child origin myth is much loved. But mostly it sees him springing fully formed from the brow of Granada Television. There are glancing references to Aston Villa and the schoolyard, but no one has examined the social and historical detail or looked closely at where Lee really came from: the people, places and period. This is the first time someone has described the Lee Child arc: from peaceful obscurity in the Yorkshire Dales and Upstate New York to cult figure, no. 1 in America, rock star, celebrity and publishing institution through to backlash, the changing zeitgeist, and intimations of retirement. The analysis of the emotional power and significance of Lee’s work in the final chapters—the themes of happiness, addiction, dependency, loneliness, and existential absurdity—and the first-hand retrospective accounts of his life and second-act career are all exclusive to this definitive biography.
From the Nobel Prize-winning Icelandic author: a magnificent novel that recalls Iceland's medieval epics and classics, set in the early twentieth century starring an ordinary sheep farmer and his heroic determination to achieve independence. • "A strange story, vibrant and alive…. There is a rare beauty in its telling." —Atlantic Monthly If Bjartur of Summerhouses, the book's protagonist, is an ordinary sheep farmer, his flinty determination to free himself is genuinely heroic and, at the same time, terrifying and bleakly comic. Having spent eighteen years in humiliating servitude, Bjartur wants nothing more than to raise his flocks unbeholden to any man. But Bjartur's spirited daughter wants to live unbeholden to him. What ensues is a battle of wills that is by turns harsh and touching, elemental in its emotional intensity and intimate in its homely detail. Vast in scope and deeply rewarding, Independent People is a masterpiece.
The Stories We Leave Behind is a legacy-based approach to dealing with our stuff and preserving our stories. Rather than asking which items we can live without, The Stories We Leave Behind asks: 1. How do I want to be remembered? 2. What stories tell that legacy? 3. What stuff highlights those stories? In the process you'll highlight items that tell a legacy story, identify valuable stuff that may be overlooked, minimize challenging decisions for loved ones, and reclaim space, time, and energy for you. What stories will you leave behind?
Fearless, revealing, and compulsively readable, Lita Ford’s Living Like a Runaway is the long-awaited memoir from one of rock’s greatest pioneers—and fiercest survivors. “Heavy metal’s leading female rocker" (Rolling Stone) bares all, opening up about the Runaways, the glory days of the punk and hard-rock scenes, and the highs and lows of her trailblazing career. Wielding her signature black guitar, Lita Ford shredded stereotypes of female musicians throughout the 1970s and ‘80s. Then followed more than a decade of silence and darkness—until rock and roll repaid the debt it owed this pioneer, helped Lita reclaim her soul, and restored the Queen of Metal to her throne. In 1975, Lita Ford left home at age sixteen to join the world’s first major all-female rock group, the Runaways—a “pioneering band” (New York Times) that became the subject of a Hollywood movie starring Kristen Stewart ad Dakota Fanning. Lita went on to become “heavy rock’s first female guitar hero” (Washington Post), a platinum-selling solo star who shared the bill with the Ramones, Van Halen, Motley Crue, Bon Jovi, Def Leppard, Poison, and others and who gave Ozzy Osbourne his first Top 10 hit. She was a bare-ass, leather-clad babe whose hair was bigger and whose guitar licks were hotter than any of the guys’. Hailed by Elle as “one of the greatest female electric guitar players to ever pick up the instrument,” Lita spurred the meteoric rise of Joan Jett, Cherie Currie, and the rest of the Runaways. Her phenomenal talent on the fret board also carried her to tremendous individual success after the group’s 1979 disbandment, when she established herself as a “legendary metal icon” (Guitar World) and a fixture of the 1980s music scene who held her own after hours with Nikki Sixx, Jon Bon Jovi, Eddie Van Halen, Tommy Lee, Motorhead’s Lemmy, Black Sabbath’s Tony Iommi (to whom she was engaged), and others. Featuring a foreword by Dee Snider, Living Like a Runaway also provides never-before-told details of Lita’s dramatic personal story. For Lita, life as a woman in the male-dominated rock scene was never easy, a constant battle with the music establishment. But then, at a low point in her career, came a tumultuous marriage that left her feeling trapped, isolated from the rock-and-roll scene for more than a decade, and—most tragically—alienated from her two sons. And yet, after a dramatic and emotional personal odyssey, Lita picked up her guitar and stormed back to the stage. As Guitar Player hailed in 2014 when they inducted her into their hall of fame of guitar greats: “She is as badass as ever.”
“Hieroglyphics is a novel that tugs at the deepest places of the human soul—a beautiful, heart-piercing meditation on life and death and the marks we leave on this world. It is the work of a wonderful writer at her finest and most profound.” —Jessica Shattuck, author of The Women in the Castle After many years in Boston, Lil and Frank have retired to North Carolina. The two of them married young, having bonded over how they both—suddenly, tragically—lost a parent when they were children. Now, Lil has become deter­mined to leave a history for their own kids. She sifts through letters and notes and diary entries, uncovering old stories—and perhaps revealing more secrets than Frank wants their children to know. Meanwhile, Frank has become obsessed with the house he lived in as a boy on the outskirts of town, where a young single mother, Shelley, is now raising her son. For Shelley, Frank’s repeated visits begin to trigger memories of her own family, memories that she’d hoped to keep buried. Because, after all, not all parents are ones you wish to remember. Empathetic and profound, this novel from master storyteller Jill McCorkle deconstructs and reconstructs what it means to be a father or a mother, and to be a child trying to know your parents—a child learning to make sense of the hieroglyphics of history and memory.