NATIONAL BESTSELLER A charmingly relatable and wise memoir-in-essays by acclaimed writer and bookseller Mary Laura Philpott, “the modern day reincarnation of…Nora Ephron, Erma Bombeck, Jean Kerr, and Laurie Colwin—all rolled into one” (The Washington Post), about what happened after she checked off all the boxes on a successful life’s to-do list and realized she might need to reinvent the list—and herself. Mary Laura Philpott thought she’d cracked the code: Always be right, and you’ll always be happy. But once she’d completed her life’s to-do list (job, spouse, house, babies—check!), she found that instead of feeling content and successful, she felt anxious. Lost. Stuck in a daily grind of overflowing calendars, grueling small talk, and sprawling traffic. She’d done everything “right” but still felt all wrong. What’s the worse failure, she wondered: smiling and staying the course, or blowing it all up and running away? And are those the only options? Taking on the conflicting pressures of modern adulthood, Philpott provides a “frank and funny look at what happens when, in the midst of a tidy life, there occur impossible-to-ignore tugs toward creativity, meaning, and the possibility of something more” (Southern Living). She offers up her own stories to show that identity crises don’t happen just once or only at midlife and reassures us that small, recurring personal re-inventions are both normal and necessary. Most of all, in this “warm embrace of a life lived imperfectly” (Esquire), Philpott shows that when you stop feeling satisfied with your life, you don’t have to burn it all down. You can call upon your many selves to figure out who you are, who you’re not, and where you belong. Who among us isn’t trying to do that? “Be forewarned that you’ll laugh out loud and cry, probably in the same essay. Philpott has a wonderful way of finding humor, even in darker moments. This is a book you’ll want to buy for yourself and every other woman you know” (Real Simple).
That elusive Holy Grail of modern physics, A Theory of Everything (ToE), would explain the universe in a single set of equations. Albert Einstein and Stephen Hawking tackled the problem during their lifetimes and the quest continues today in laboratories around the world. Leaving string theory, galaxy clusters, and supersymmetry to the Quantum Computer and Hadron Collider crowd, Pedersen has taken up the rest—that is, A Theory of Everything Else (ToEE), based on her own groundbreaking experiences as a dog walker, camp counselor, and Bingo caller. Pedersen’s essays are a series of colorful helium balloons that entertain as well as affirm and uplift. Why, she ponders in one essay, are thousands perishing as a result of assault weapons, carbon emissions, forest fires, pesticides, and processed foods—and yet how lawn darts were banned in the 1980s after two people died? In A Theory of Everything Else, Pedersen vividly demonstrates how life can appear to grind us down while it’s actually polishing us up—and why everyone wants to live a long time but no one wants to grow old.
When ambitious attorney Claire Hewitt is asked to represent the Satoris, one of Philadelphia’s most prominent families, in a lawsuit over the death of their daughter, she is thrust into an opioid nightmare with deadly impact—and not for the first time. Claire’s guilt for not saving her sister, Molly, has not subsided in the twenty years since Molly’s almost certainly opioid-related death. Now, with this new assignment, her guilt comes full circle. Who was really at fault in Molly’s death? And who is at fault now? What begins as a quest for truth becomes infinitely more complicated as Claire struggles to balance her desire for justice with the Satoris’ thirst for revenge. She knows she needs to expose the greed that transforms legal opioid production into illicit fabrications and the neglect that is the breaking point between physicians and their patients. But there are powerful people who will seemingly stop at nothing to prevent these truths from seeing the light of day, and she is sabotaged at every turn. Can she push past the obstacles in her way to build a winning case? Based on true events, Side Effects Are Minimal is about a corrupt pharmaceutical industry, the guilt of physicians prescribing the opioids that kill, and the pain experienced by families who’ve lost loved ones to an epidemic that has brought the United States to its knees.
Stop boring your professors with tedious, predictable essays. Get better grades! How do you write a great essay? It’s not about five paragraphs filled with quotations from experts—you need to discover who you are as a writer and what you want to say. In a conversational style, writing instructor Laura Swart uses real student writing to show you what to do (and what not to do). Unlock your creativity and potential as a writer and create essays that stand out from the rest of your class. In this guide, you’ll learn how to: - Avoid common student writing errors that keep your essays out of the A zone. - Use the CSI (claim, support, investigation) method to write a critical essay. - Integrate relevant and meaningful quotations and research to highlight, not overshadow, your ideas. - Write natural transitions, structure seamless arguments, and craft compelling introductions and conclusions. - Extend the boundaries of your thinking, giving a wide berth to mundane ideas and plodding expression.
This is some of the finest writing in Laura Waterman's long and distinguished career. Anyone who values the history of conservation, or the gnarled wilds of the Northeast, or the complexities of the human spirit will find nourishment in these pages." — Bill McKibben, author of Wandering Home "In this new book, Laura Waterman tells the full story of her unique life. It began on the campus of a boy's school and took her to mountains, growing her own food, and writing. In these pages, readers find what it's like to grow up the daughter of the scholar who put the dashes back into Emily Dickinson's poetry; how Waterman coped with that brilliant father's alcoholism; her development as a groundbreaking climber; and her homesteading life for almost three decades. In these pages she reveals how she kept her strong sense of self while living with a dynamic, lovable, and often challenging man, her late husband, Guy Waterman. She examines closely her role in his suicide on Mount Lafayette in 2000." — Christine Woodside, editor of Appalachia and the author of Libertarians on the Prairie: Laura Ingalls Wilder, Rose Wilder Lane, and the Making of the Little House Books
Write the SAT Essay Right! is not your average-ho-hum-SAT-prep book, full of fluff and boring, useless stuff. Instead, Write the SAT Essay Right! gives college-bound students the down-low skinny on the ten best-kept secrets to raise SAT scores. In an easy step-by-step way, students learn proven secrets, then practice their newfound skills. Sample tests to study and evaluate, key strategies, and lots of score-raising tips make this a must-have resource for conquering the SAT essay. The school/library edition* of Write the SAT Essay Right! contains no write-in-the-book worksheets, making it a perfect choice for acquisition by libraries and for high-school SAT preparation classes.
This book offers a novel understanding of the epistemological strategies that are mobilized by the essay film, and of where and how such strategies operate. Against the backdrop of Adorno's discussion of the essay form's anachronistic, anti-systematic and disjunctive mode of resistance, and capitalizing on the centrality of the interstice in Deleuze's understanding of the cinema as image of thought, the book discusses the essay film as future philosophy-as a contrarian, political cinema whose argumentation engages with us in a space beyond the verbal. A diverse range of case studies discloses how the essay film can be a medium of thought on the basis of its dialectic use of audiovisual interstitiality. The book shows how the essay film's disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing-all of these emerging as interstitial spaces of intelligence that illustrate how essayistic meaning can be sustained, often in contexts of political, historical or cultural extremity. The essayistic urge is not to be identified with a fixed generic form, but is rather situated within processes of filmic thinking that thrive in gaps.
Worried about writing a great college admissions essay? You're not alone. The essay can be one of the scariest parts of the application process. This book walks you through the newest Common Application essay prompts as well as how to figure out which school-specific supplemental essays you'll need to write. There are also easy editing exercises to make sure your essays are perfect.
“There has never been a guide as comprehensive as this to writing in all its forms. . . . Useful, clear and encyclopedic, this book is an essential guide for every household.”—Examiner Need to know how to format your résumé for that job application? How do you write a cover letter that will stand out? Wondering how to request a letter of recommendation for graduate school? Trying to craft a get-well note that will really help? How informal is too informal when instant messaging in the office? What do you write on the website for your small business? What should you say in a wedding invitation? Or a divorce announcement? With over 200 how-to entries and easy-to-use models organized into three comprehensive sections on work, school, and personal life, How to Write Anything covers a wide range of topics that make it an essential guide for the whole family.
Laura Oliver has been teaching aspiring writers how to plumb emotional contradictions for insight for more than a decade in workshops and university classes. Now she has written the book her students have been asking her for, a book that aspiring writers of every genre can use to guide, coach, and encourage them on their journey.The Story Within employs the compelling art of memoir to illuminate craft and touches on nuanced subjects only a teacher who is herself actively writing knows to address. Each chapter offers excerpts from Laura's own stories, as well as those of students and published authors and then provides fresh advice and clear instruction on the subject of writing.
First-Year Writing describes significant language patterns in college writing today, how they are different from expert academic writing, and how to inform teaching and assessment with corpus-based linguistic and rhetorical genre analysis.
This controversial true story about how a woman saved her marriage has already caused a media storm, forcing the New York Times to shut down their comments site. Every woman will HAVE to read this to have an opinion about it. ' "I DON't LOVE YOU ANY MORE. I'M NOt SURE I EVER DID." His words came at me like a speeding fist, like a sucker punch, yet somehow in that moment I was able to duck. And once I recovered and composed myself, I managed to say, "I don't buy it." Because I didn't. He drew back in surprise. Apparently he'd expected me to burst into tears, to rage at him, to threaten him with a custody battle. Or beg him to change his mind ... I really wanted to fight. to rage. to cry. But I didn't. Instead, a shroud of calm enveloped me ... You see, I'd recently committed to a non-negotiable understanding with myself. I'd committed to "the End of Suffering". I'd decided to take responsibility for my own happiness. And I mean all of it.' When Laura Munson's essay about how she dealt with this heartbreaking pronouncement from her husband of 20 years appeared in the New York times it created a firestorm. the No.1 read, emailed and searched story of the day forced the times to shut down their comments site. Readers sent it to their friends, therapists gave it to patients, ministers read it to congregations, women everywhere argued about it. Her website went from 4 readers to 4000 in a day, then 1500 a day a week later. this is the memoir that spawned the column. Raw, searingly honest, poignant, funny and often enraging, this powerful and timely story is the one book every woman should read this year.
In recent years, Laura Cottingham has emerged as one of the most visible feminist critics of the so-called post-feminist generation. Following a social-political approach to art history and criticism that accepts visual culture as part of a larger social reality, Cottingham's writings investigate central tensions currently operative in the production, distribution and evaluation of art, especially those related to cultural production by and about women. Seeing Through the Seventies: Essays on Feminism and Art gathers together Cottingham's key essays from the 1990's. These include an appraisal of Lucy R. Lippard, the most influential feminist art critic of the1970's; a critique of the masculinist bias implicit to modernism and explicitly recuperated by commercially successful artists during the 1980s; an exhaustive analysis of the curatorial failures operative in the "Bad Girls" museum exhibitions of the early 1990s; surveys of feminist-influenced art practices during the women's liberationist period; speculations on the current possibilities and obstacles that attend efforts to recover lesbian cultural history; and an examination of the life, work and obscuration of the early twentieth-century French photographer Claude Cahun.
Write the SAT Essay Right! is not your average-ho-hum-SAT-prep book, full of fluff and boring, useless stuff. Instead, Write the SAT Essay Right! gives college-bound students the down-low skinny on the ten best-kept secrets to raise SAT scores. In an easy step-by-step way, students learn proven secrets, then practice their newfound skills. Sample tests to study and evaluate, key strategies, and lots of score-raising tips make this a must-have resource for conquering the SAT essay. The teacher/trade edition of Write the SAT Essay Right! contains write-in- the-book worksheets, making it a perfect choice for students who need effective and convenient practice.
Today, the essay film has become a key cultural reference point. This book shows how the essay film's disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing. It situates the essayistic urge within processes of filmic thinking that thrive in gaps.
When Laura Munson's essay was first published, the New York Times was so flooded with responses that they had to close down the comment feature on their website. Readers sent it to their friends and therapists gave it to their clients. What did Munson write that caused such a fervour? Laura detailed what happened when her husband of more than twenty years told her he wasn't sure he loved her anymore and wanted to move out. Laura's response to her husband: I don't buy it. In this poignant and funny memoir, Laura recounts the time her faith in her marriage was put to the test. Shaken to the core after the death of her beloved father, not finding the professional success that she had hoped for, and after much therapy, Laura, aged forty, realised she had to stop basing her happiness on things outside her control and commit to an 'End of Suffering'.
Engaging, explicit lessons using mini-excerpts from books and students’ writing show you how to teach grammar strategically. Zero in on the common grammar glitches, and model for students how to use nouns, verbs, and adjectives effectively, catch mismatched pronoun references; make prose lively with clauses and phrases, use the active voice, and more. From learning the parts of speech to the skill of paragraphing, this book covers it, and gives you what you need to teach grammar in the context of reading and writing. For use with Grades 4-8.
Thomas Wolfe remains one of America's most famous writers and figures. His experiences and relationships with his family and his hometown shaped his writing later in life, adding a level of realism and depth to his books still celebrated to this day. In Laura Boffa's book, Writing Home, she explores Wolfe's early life from his childhood home in Asheville, North Carolina to his travels around the Midwest, and eventual return to Asheville. Beautiful illustrations throughout bring Wolfe's story to life. It is the story of one young man's journey to become a writer, a journey filled with triumph, longing, and a desire to follow one's dream...
In this book, Ann Laura Stoler navigates the shadows and shatterzones of democratic policies, considering how imperial features are folded through (il)liberal orders, where racial inequities thicken in the borderlands of interior frontiers. Sometimes those frontiers, or the lines that define the contours of belonging and not belonging, are porous--often fixed and firm. For those on the wrong side of the fabulated division between inside and out, entry requirements can be opaque, neither verbal nor visible. Illegibilities are secured in code. The sites of inequity are disparate, the sensibilities that produce and sustain those inequities are as well. Borrowing Ralph Ellison's phrase, Stoler exposes unexpected sites and scenes that register the lower frequencies of denigration. Seemingly benign sites are laid bare as toxic, as in her essay eviscerating the warped criteria assigned to taste and who can have it, and in her study of the seared lives that longing, envy, and humiliation inscribe. In so doing, she hews close to the soft violences of sentiments that ascribe, distribute, and assess human kinds. But the project of these essays turns as much to those who reject those violences, who distil refusal in poetic rage--the phrase Stoler invokes to describe the anti-colonial avant-garde. Stoler casts this aesthetic of dissent through a surge of multi-media archiving ventures among Palestinians bent on creating and conjuring landscapes beyond Israeli violences-for the future and today. Stoler hugs close to the dark corridors where racial inequalities thrive. These inequities may be blatant but unnoticed, others are neither muted nor unseen. Each essay iterates a (sub)metric of inequality as a fictive measure of human worth. With an optic, ever bold and subtle, she turns the reader to the social ecologies and racial logics targeting the body and the senses. These are hazardous zones for the instruments and infrastructures in which (il)liberalisms invest. Increasingly unsettled and challenged by a more radically just demos, these sites of contest may be the emergent political scenes of racial sovereignty's unmaking and where the weapons of that unmaking are readied, and stored.
This book surveys the history of basic writing scholarship, suggesting that we cannot adequately theorize the situations of basic writers unless we examine how they construct their own conceptions of their identities, their constructions of their relationships to social forces, and their representations of their relationships to written work. Using a cross-disciplinary analytic model, Gray-Rosendale offers a detailed examination of the oral conversations that take place within one basic writing peer revision group. She explains the ways in which the students' own conversational structures impact and shape their written products. Gray-Rosendale then draws out the potentials of her work for basic writing administrators, curricula builders, and teachers.
In Radical Writing Center Praxis Laura Greenfield calls for a paradigm change in writing centers, imagining a field whose very reason for being is to facilitate justice and peace. The book calls on readers to more critically examine power and agency in writing centers and to imagine new possibilities for the field’s theories and practices. Large, intersecting systems of oppression manifest in the everyday practices of institutions, classrooms, and writing centers. Local practices in turn influence the surrounding world. Radical Writing Center Praxis therefore challenges the writing center field to resist assumptions of political neutrality and instead to redefine itself in terms of more explicit ethical commitments. In this paradigm it is clear that to engage in anti-oppression work is not merely a special interest but rather a vital interest to all. Introducing the concepts and vocabulary of radical politics, Radical Writing Center Praxis examines the tensions between the field’s professed beliefs and everyday practices and offers a process by which the writing center discipline as a whole might rebuild itself anew. It will be invaluable to writing center directors, tutors, scholars, and students as well as to administrators and compositionists.
This book presents a critical history of the intersections between American environmental literature and ecological restoration policy and practice. Through a storying—restorying—restoring framework, this book explores how entanglements between writers and places have produced literary interventions in restoration politics. The book considers the ways literary landscapes are politicized by writers themselves, and by conservationists, activists, policymakers, and others, in defense of U.S. public lands and the idea of wilderness. The book profiles five environmental writers and examines how their writings on nature, wildness, wilderness, conservation, preservation, and restoration have variously inspired and been translated into ecological restoration programs and campaigns by environmental organizations. The featured authors are Henry David Thoreau (1817–1862) at Walden Pond, John Muir (1838–1914) in Yosemite National Park, Aldo Leopold (1887–1948) at his family’s Wisconsin sand farm, Marjory Stoneman Douglas (1890–1998) in the Everglades, and Edward Abbey (1927–1989) in Glen Canyon. This book combines environmental history, literature, biography, philosophy, and politics in a commentary on considering (and developing) environmental literature’s place in conversations on restoration ecology, ecological restoration, and rewilding.
Rethink the way you approach writing in this revolutionary and informative new anthology from fourteen diverse authors that demystifies craft and authorship based on their experiences as writers of color—perfect for fans of Fresh Ink and Our Stories, Our Voices. So, you’re thinking of writing a book. Or, maybe you’ve written one, and are wondering what to do with it. What does it take to publish a novel, or even a short story? If you’re a writer of color, these questions might multiply; after all, there’s a lot of writing advice out there, and it can be hard to know how much of it really applies to your own experiences. If any of this sounds like you, you’re in the right place: this collection of essays, written exclusively by authors of color, is here to encourage and empower writers of all ages and backgrounds to find their voice as they put pen to page. Perhaps you’re just getting started. Here you’ll find a whole toolkit of advice from bestselling and award-winning authors for focusing on an idea, landing on a point of view, and learning which rules were meant to be broken. Or perhaps you have questions about everything beyond the first draft: what is it really like being a published author? These writers demystify the process, sharing personal stories as they forged their own path to publication, and specifically from their perspectives as author of color. Every writer has a different journey. Maybe yours has already started. Or maybe it begins right here. Contributors include: Julie C. Dao, Chloe Gong, Joan He, Kosoko Jackson, Adiba Jaigirdar, Darcie Little Badger, Yamile Saied Mendez, Axie Oh, Laura Pohl, Cindy Pon, Karuna Riazi, Gail D. Villanueva, Julian Winters, and Kat Zhang.
This study explores the cultural and political impact of Victorian travelers' descriptions of physical and verbal violence in Africa. Travel narratives provide a rich entry into the shifting meanings of colonialism, as formal imperialism replaced informal control in the Nineteenth century. Offering a wide-ranging approach to travel literature's significance in Victorian life, this book features analysis of physical and verbal violence in major exploration narratives as well as lesser-known volumes and newspaper accounts of expeditions. It also presents new perspectives on Olive Schreiner and Joseph Conrad by linking violence in their fictional travelogues with the rhetoric of humanitarian trusteeship.
Broad generalizations about "people today" are a familiar feature of first-year student writing. How Students Write brings a fresh perspective to this perennial observation, using corpus linguistics techniques. This study analyzes sentence-level patterns in student writing to develop an understanding of how students present evidence, draw connections between ideas, relate to their readers, and, ultimately, learn to construct knowledge in their writing. Drawing on both first-year and upper-level student writing, the book examines the discourse of students at different points in their education. It also distinguishes between argumentative and analytic essays to explore the way school genres and assignments shape students' choices. In focusing on sentence-level features such as hedges ("perhaps") and boosters ("definitely"), this study shows how such rhetorical choices work together to open or close opportunities for thoughtful exchanges of ideas. Attention to these features can help instructors foster civil discourse, design effective assignments, and expose and question norms of higher education.
Break through writer's block using your five senses! The sensory details that infuse our everyday experience—the smell of a favorite dish cooking, the texture of a well-worn coat, hearing a song that reminds you of a person or a time in your life—can be used to add richness and spark to what we write. Whether you are a professional writer (or want to be one) or someone who enjoys just writing for your own personal fulfillment, Writing from the Senses will show you how to tap into an endless source of engaging material, using your senses as prompts. The exercises will stimulate you to develop stories, imagery, and details that will allow readers to see, taste, hear, smell, and feel that they're in the scene. Writing from the Senses •Provides 60 prompts and creative writing exercises organized by sense; •Presents engaging narratives, personal essays, and instruction to entertain and inform readers and illustrate the effectiveness of each exercise; •Helps writers recognize the sensory prompts that surround them daily and use them to trigger their individual stories; and •Shows how freewrites from the prompts in this book can result in publishable pieces.
Autobiography is one of the most popular of written forms. From Casanova to Benjamin Franklin to the Kardashians, individuals throughout history have recorded their own lives and experiences. These personal writings are central to the work of literary critics, philosophers, historians and psychologists, who have found in autobiographies from across the centuries not only an understanding of the ways in which lives have been lived, but the most fundamental accounts of what it means to be a self in the world. In this Very Short Introduction Laura Marcus defines what we mean by 'autobiography', and considers its relationship with similar literary forms such as memoirs, journals, letters, diaries, and essays. Analysing the core themes in autobiographical writing, such as confession, conversion and testimony; romanticism and the journeying self; Marcus discusses the autobiographical consciousness (and the roles played by time, memory and identity), and considers the relationship between psychoanalysis and autobiography. Exploring the themes of self-portraiture and performance, Marcus also discusses the ways in which fiction and autobiography have shaped each other. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Although many educators want to help their students overcome their writing challenges, most higher education instructors do not have formal training in teaching writing. This book provides a detailed roadmap for college educators to help students make substantial improvements in their writing, particularly in courses where writing is a component, but not the primary focus. This accessible guide offers conceptual tools and practical strategies, including lesson plans, stock comments instructors can use to explain frequently occurring writing problems, and writing prompts to help struggling students address writer’s block. Covering topics such as managing grading time, reducing students’ anxiety about writing, giving clear and formative feedback, troubleshooting, and providing practical tips for helping ESL students, this book is a one-stop shop for assisting students across academic disciplines. By implementing the guidance offered in this manual, college and university faculty and instructors can guide students effectively and efficiently in improving their writing.
For the last two years, acclaimed theologian Amy Laura Hall has written a lively, wide-ranging, opinionated column for her local newspaper. In her column, Hall has sought--without flatly rejecting globalism--to think and act locally. She has also responded to what she sees as a disturbing Christian turn toward asceticism and away from abundance. Drawing from her scholarship, but also from conversations at coffee shops and around the dinner table, Hall's "missives of love" engage topics such as school dress codes, ubiquitous surveillance cameras, LGBTQ dignity, and bullies in the workplace. They draw richly and variously on pop songs, dead saints, young adult literature, and many stories about actual neighbors and family members. Often offbeat and always riveting, they ask how the world around us works and can work much better for the sake of daily truth and flourishing.
A collection of personal essays by popular young adult and women's fiction writers considers the ways in which the books of Judy Blume influenced their emotional, social, and physical developments.
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