One of America's favorite teachers, Natalie Goldberg has inspired millions to write as a way to develop an intimate relationship with their minds and a greater understanding of the world in which they live. Now, through this honest and wry exploration of her own life, Goldberg puts her teachings to work.

"[A] gorgeously-written . . . brave and generous memoir" about growing up in a family with conflicting ideas about being Jewish and finding your own path (Dani Shapiro, New York Times- bestselling author of Inheritance ). Though culturally Jewish, Elissa Altman was not raised religious. Her mother, an aspiring actor, didn't feel the ancient teachings of the Talmud were relevant to modern life. Her father, the son of a cantor whose family died in the Holocaust, was the consummate rule breaker, caught between his spiritual hunger and his ongoing culinary affair with shellfish and spam--all things treyf , that which is unkosher and therefore forbidden. Altman's youth was laced with contradiction and hope, betrayal and the yearning to belong. Synagogue on Saturday and Chinese pork ribs on Sunday. Bacon for breakfast before going to visit her orthodox grandparents. Longing for the religious traditions that grounded her friends' lives, Altman attended Hebrew school, only to discover her own prohibited desire for other women. After her parents' marriage fell apart, Altman found a haven at her grandmother's house, cooking meals that made her feel whole again while embracing her homosexuality. Her story is a poignant, humorous and uplifting account of learning how to honor your past while becoming your most authentic self. "What makes Treyf so original is the author's wry humor and her gimlet eye. . . . Her prose shines." -- The Wall Street Journal "A beautiful, brilliant memoir filled with striking images, unforgettable people, and vivid stories. . . . Wrought with such visceral love that the pages shimmer." --Kate Christensen, author of Blue Plate Special "Gorgeous, singular, heartbreaking, haunting." --Joanna Rakoff, author of My Salinger Year "Hard to put down." -- Booklist "Poignant and life-affirming." -- Kirkus Reviews

Two Lives is Janet Malcolm's stunning portrait of a legendary couple: Gertrude Stein, the modernist master, and Alice B Toklas, the 'worker bee' who ministered to Stein's needs throughout their forty-year expatriate 'marriage'. As Malcolm pursues the truth of the couple's charmed life in a village in Vichy France her subject becomes the larger question of biographical truth. 'The instability of human knowledge is one of our few certainties,' she writes. The portrait of their relationship that emerges is unexpectedly charged. The two world wars Stein and Toklas lived through together are paralleled by the private war that went on between them. This war, as Malcolm learned, sometimes flared into bitter combat. Janet Malcolm is at her finest in this extraordinary work of literary biography and investigative journalism.

It is one of the curiosities of history that the most remarkable novel about Jews and Judaism, predicting the establishment of the Jewish state, should have been written in 1876 by a non-Jew - a Victorian woman and a formidable intellectual, who is generally regarded as one of the greatest of English novelists. And it is still more curious that Daniel Deronda , George Eliot's last novel, should have been dismissed, by many of her admirers at the time and by some critics since, as something of an anomaly, an inexplicable and unfortunate turn in her life and work. Yet Eliot herself was passionately committed to that novel, having prepared herself for it by an extraordinary feat of scholarly research in five languages (including Hebrew), exploring the ancient, medieval, and modern sources of Jewish history. Three years later, to reenforce that commitment, she wrote an essay, the very last of her writing, reaffirming the heritage of the Jewish "nation" and the desirability of a Jewish state - this well before the founders of Zionism had conceived of that mission. Why did this Victorian novelist, born a Christian and an early convert to agnosticism, write a book so respectful of Judaism and so prescient about Zionism? And why at a time when there were no pogroms or persecutions to provoke her? What was the general conception of the "Jewish question," and how did Eliot reinterpret that "question," for her time as well as ours? Gertrude Himmelfarb, a leading Victorian scholar, has undertaken to unravel the mysteries of Daniel Deronda . And the mysteries of Eliot herself: a novelist who deliberately wrote a book she knew would bewilder many of her readers, a distinguished woman who opposed the enfranchisement of women, a moralist who flouted the most venerable of marital conventions - above all, the author of a novel that is still an inspiration or provocation to readers and critics alike.

Having recalled his life through the story of his physical self in Winter Journal , internationally acclaimed novelist Paul Auster remembers the experience of his development from within through the encounters of his interior self with the outer world in Report from the Interior . In the beginning, everything was alive. The smallest objects were endowed with beating hearts . . . From his baby's-eye view of the man in the moon, to his childhood worship of the movie cowboy Buster Crabbe, to the composition of his first poem at the age of nine, to his dawning awareness of the injustices of American life, Report from the Interior charts Auster's moral, political, and intellectual journey as he inches his way toward adulthood through the postwar 1950s and into the turbulent 1960s. Auster evokes the sounds, smells, and tactile sensations that marked his early life—and the many images that came at him, including moving images (he adored cartoons, he was in love with films), until, at its unique climax, the book breaks away from prose into pure imagery: The final section of Report from the Interior recapitulates the first three parts, told in an album of pictures. At once a story of the times—which makes it everyone's story—and the story of the emerging consciousness of a renowned literary artist, this four-part work answers the challenge of autobiography in ways rarely, if ever, seen before.

"The modern novel in its most cogent and permanent form"--this has been the achievement of E. M. Forster; his masterpiece, A Passage to India, belongs with perhaps three or four other works in English at the pinnacle of literary craftsmanship in this century. Yet for many years Forster's genius was virtually unrecognized in America. Not until 1943, when Lionel Trilling's authoritative and discerning study was first published, did Forster find his way to a broad American audience. In this 1964 revision of the first paperbook edition, Mr. Trilling added a preface and brought the bibliography up to date. His book performs two services: it is a critical-biographical introduction to the master novelist and his works; it is in itself a primary document in the development of, contemporary American criticism. Here is criticism functioning at its best, deftly, surely, wittily, within a framework of the ideas which are basic to literary thought today.

The memoir of a woman who leaves her faith and her marriage and sets out to navigate the terrifying, liberating terrain of a newly mapless world Born and raised in a tight-knit Orthodox Jewish family, Tova Mirvis committed herself to observing the rules and rituals prescribed by this way of life. After all, to observe was to be accepted and to be accepted was to be loved. She married a man from within the fold and quickly began a family. But over the years, her doubts became noisier than her faith, and at age forty she could no longer breathe in what had become a suffocating existence. Even though it would mean the loss of her friends, her community, and possibly even her family, Tova decides to leave her husband and her faith. After years of trying to silence the voice inside her that said she did not agree, did not fit in, did not believe, she strikes out on her own to discover what she does believe and who she really is. This will mean forging a new way of life not just for herself, but for her children, who are struggling with what the divorce and her new status as "not Orthodox" mean for them. This is a memoir about what it means to decide to heed your inner compass at long last. To free the part of yourself that has been suppressed, even if it means walking away from the only life you've ever known. Honest and courageous, Tova takes us through her first year outside her marriage and community as she learns to silence her fears and seek adventure on her own path to happiness.

Always Apprentices collects five years of intimate, wide-ranging conversations with many of today's most prominent writers, taken from the pages of the Believer . The participants don't limit themselves to issues of writing and craft, but instead offer unfettered exchanges on a wide range of topics--from what it means to be a consumer to whether or not to kill a deer, from how we get to know each other to walking while inebriated. The interviews feature the serious-yet-casual Believer approach to the often staid interview format. For example, Sheila Heti asks Mary Gaitskill, "If you go into a room or go to a party, is there a basic disposition you have toward humans going through the world?" Elsewhere, Colum McCann begins his conversation with Aleksandar Hemon by asking, "What are we doing here? Why aren't we in a pub?" Other interviews include Don DeLillo talking with Bret Easton Ellis; Joan Didion talking with Vendela Vida; and Barry Hannah talking with Wells Tower.

The final previously unpublished work from two-time winner of the Pulitzer Prize and winner of the National Book Award, Norman Mailer. Norman Mailer is one of America's most consequential public intellectuals of the postwar period. He cofounded the Village Voice , and he was the author of twelve novels, among them The Naked and the Dead and Harlot’s Ghost , as well as numerous works of nonfiction. He is truly one of the giants of American literature. Lipton's, A Marijuana Journal is the only work by Norman Mailer that has not been published previously. Written between 1954-55, from December to March, it contains many ideas he would develop in his later work. The journal includes daily musings, as well as thoughts profound. It is a must-read for Norman Mailer scholars, as well as literature professors. Lipton’s, A Marijuana Journal also includes never before published letters between Robert Lindner (author of Rebel Without a Cause , Prescription for a Reberllion , and The 50 Minute Hour) and Norman Mailer. They introduce the reader to Mailer’s state of mind during the time he was writing the journal and to the unique relationship he had with Dr. Lindner.

Profiling Canada's leading poet-singer, this concise biography surveys the remarkable 40-year career of Leonard Cohen that has produced 11 books and 11 records. Focusing on the evolution of Cohen's international reputation, the book begins with a review of the Montreal years. The popularity of works like The Spice Box of Earth and Beautiful Losers is examined in detail. Cohen's musical career receives special attention, from his first studio session to his latest record. The biography concludes with a discussion of Stranger Music .

A New York Times Noteworthy Paperback, 1997

In this open letter to his father – a letter which was never sent – Kafka tries to come to terms with one of the most deeply rooted obsessions of his troubled soul. Written as a long, tense and dramatic confession in which writer and man are gathered together in front of an ambivalent figure of authority, Dearest Father is a desperate attempt to retrace the origins of a turbulent relationship between an unflinching parent and an extremely sensitive child. Both a merciless indictment of his father and an impassioned appeal to him, Kafka's inspired work is one of the most lucid and touching psychological documents in twentieth-century literature. This volume also includes passages from Kafka's diaries and correspondence.

Genet...Beckett...Burroughs...Miller...Ionesco, Oe, Duras. Harold Pinter and Tom Stoppard. Hubert Selby Jr. and John Rechy. The legendary film I Am Curious (Yellow) . The books that assaulted the fort of propriety that was the United States in the 1950s and '60s, Lady Chatterley's Lover and The Tropic of Cancer. The Evergreen Review. Victorian "erotica." The Autobiography of Malcolm X . A bombing, a sit-in, and a near-fistfight with Norman Mailer. The common thread between these disparate elements, a number of which reshaped modern culture, was Barney Rosset. Rosset was the antidote to the trope of the "gentleman publisher" personified by other pioneering figures of the industry such as Alfred A. Knopf, Bennett Cerf and James Laughlin. If Barney saw a crowd heading one way--he looked the other. If he knew something was forbidden, he regarded it as a plus. Unsurprisingly, financial ruin, along with the highs and lows of critical reception, marked his career. But his unswerving dedication to publishing what he wanted made him one of the most influential publishers ever. Rosset began work on his autobiography a decade before his death in 2012, and several publishers and a number of editors worked with him on the project. Now, at last, in his own words, we have a portrait of the man who reshaped how we think about language, literature--and sex. Here are the stories behind the filming of Norman Mailer's Maidstone and Samuel Beckett's Film ; the battles with the US government over Tropic of Cancer and much else; the search for Che's diaries; his romance with the expressionist painter Joan Mitchell, and more. At times appalling, more often inspiring, never boring or conventional: this is Barney Rosset, uncensored. Illustrated with black-and-white photographs; includes index

For decades now, Adam Gopnik has been one of our most beloved writers, a brilliantly perceptive critic of art, food, France, and more. But recently, he became obsessed by a more fundamental matter, one he had often meditated on in The New Yorker: How do masters learn their miraculous skill, whether it was drawing a museum-ready nude or baking a perfect sourdough loaf? How could anyone become so good at anything? There seemed to be a fundamental mystery to mastery. Was it possible to unravel it? In The Real Work--the term magicians use for the accumulated craft that makes for a great trick--Gopnik becomes a dedicated student of several masters of their craft: a classical painter, a boxer, a dancing instructor, a driving instructor, and others. Rejecting self-help bromides and bullet points, he nevertheless shows that the top people in any field share a set of common qualities and methods. For one, their mastery is always a process of breaking down and building up--of identifying and perfecting the small constituent parts of a skill and the combining them for an overall effect greater than the sum of those parts. For another, mastery almost always involves intentional imperfection--as in music, where vibrato, a way of not quite landing on the right note, carries maximum expressiveness. Gopnik's simplest and most invigorating lesson, however, is that we are surrounded by mastery. Far from rare, mastery is commonplace, if we only know where to look: from the parent who can whip up a professional strudel to the social worker who--in one of the most personally revealing passages Gopnik has ever written--helps him master his own demons. Spirited and profound, The Real Work will help you understand how mastery can happen in your own life--and, significantly, why each of us relentlessly seeks to better ourselves in the first place.

A groundbreaking new biography of Jack Kerouac from the author of the award-winning memoir Minor Characters Joyce Johnson brilliantly peels away layers of the Kerouac legend in this compelling new book. Tracking Kerouac’s development from his boyhood in Lowell, Massachusetts, through his fateful encounters with Allen Ginsberg, William S. Burroughs, Neal Cassady, and John Clellon Holmes to his periods of solitude and the phenomenal breakthroughs of 1951 that resulted in his composition of On the Road followed by Visions of Cody , Johnson shows how his French Canadian background drove him to forge a voice that could contain his dualities and informed his unique outsider’s vision of America. This revelatory portrait deepens our understanding of a man whose life and work hold an enduring place in both popular culture and literary history.

An uproarious and frank memoir of illness and recovery, No Laughing Matter is a story of friendship and recuperation from the author of the classic Catch-22 . It all began one typical day in the life of Joe Heller. He was jogging four miles at a clip these days, working on his novel God Knows , coping with the complications of an unpleasant divorce, and pigging out once or twice a week on Chinese food with cronies like Mel Brooks, Mario Puzo, and his buddy of more than twenty years, Speed Vogel. He was feeling perfectly fine that day—but within twenty-four hours he would be in intensive care at Manhattan's Mount Sinai Hospital. He would remain hospitalized for nearly six months and leave in a wheelchair. Joseph Heller had Guillain-Barré syndrome, a debilitating, sometimes fatal condition that can leave its victims paralyzed from head to toe. The clan gathered immediately. Speed—sometime artist, sometime businessman, sometime herring taster, and now a coauthor—moved into Joe's apartment as messenger, servant, and shaman. Mel Brooks, arch-hypochondriac of the Western world, knew as much about Heller's condition as the doctors. Mario Puzo, author of the preeminent gangster novel of our time, proved to be the most reluctant man ever to be dragged along on a hospital visit. These and lots of others rallied around the sickbed in a show of loyalty and friendship that not only built a wild and spirited camaraderie but helped bring Joe Heller, writer and buddy extraordinaire, through his greatest crisis. This book is an inspiring, hilarious memoir of a calamitous illness and the rocky road to recuperation—as only the author of Catch-22 and the friend who helped him back to health could tell it. No Laughing Matter is as wacky, terrifying, and greathearted as any fiction Joseph Heller ever wrote.

Millions of adult Americans will fondly remember such entertaining movies as Carousel, The Jackpot, and There's No Business Like Show Business. Phoebe and Henry Ephron, who wrote the screenplays for these and other films, were a unique team in that they used their special talents, working with dozens of great names of screen and stage, to create everything from the comic to the somber under circumstances both humorous and quite the opposite. Whether they were working on a Carousel, starring Shirley Jones and Gordon MacRae or a new What Price Glory, or Fred Astaire's Daddy Long Legs, the Ephrons were always learning something new and exciting about a magical assortment of people (Henry remembers the famous director John Ford the day he was faulted by his producer for being two days behind in shooting a film. He tore up six pages and said: "Tell the SOB I'm six days ahead!") This is also a story of the thirty-seven-year marriage of two people who started out with very little, realized their dreams of having a play produced on Broadway, and then went to Hollywood, where they wrote major scripts for some of the biggest stars. Woven throughout the story is the family element of raising four daughters in the make-believe atmosphere of Southern California. As the two Ephrons worried about the work they'd done on one major script, the make-believe turning into a glorious reprieve when it was reported to them that Darryl Zanuck had just told a friend, "I'll never know how the Ephrons took that old chestnut and turned it into this great screenplay." Here, a professional storyteller is at his best in a personal narrative which also brings onstage a fascinating supporting cast.

'Perec is serious fun' The Guardian Both an affectionate portrait of mid-century Paris and a daring memoir, Georges Perec's I Remember is now available in English to UK readers for the first time, with an introduction by David Bellos. In 480 numbered statements, all beginning identically with 'I remember', Perec records a stream of individual memories of a childhood in post-war France, while posing wider questions about memory and nostalgia. As playful and puzzling as the best of his novels, I Remember is an ode to life: the ordinary, the extraordinary, and the sometimes trivial, as seen through the eyes of the irreplaceable Georges Perec.