In 2011, when she was in her late fifties, beloved author and journalist Joyce Maynard met the first true partner she had ever known. Then, just after their one-year wedding anniversary, her new husband was diagnosed with pancreatic cancer. During the nineteen months that followed, as they battled his illness together, she discovered for the first time what it really meant to be a couple - to be a true partner and to have one. This is their story. Charting the course through their whirlwind romance, a marriage cut short by tragedy, and Joyce's return to singleness on new terms, 'The Best of Us' is a heart-wrenching, ultimately life-affirming reflection on coming to understand true love

This text provides an account of the turbulent romance of F. Scott Fitzgerald and Sheilah Graham. In July 1937 Scott Fitzgerald was broken in spirit, desperate for money and headed for Hollywood for work as a screenwriter - his one last shot at staying sober and re-establishing himself as a writer. There he met the young Sheilah Graham, a fledgling columnist who had transformed herself from a Jewish orphan from London's East End to a British aristocrat, determined to eradicate all traces of her squalid youth. Scott was fascinated by the gutsy Graham, she instinctively understood him and his demons and, together, they sought refuge from the glittering ferment of late-1930s Hollywood among friends such as Robert Benchley, Dorothy Parker and Ogden Nash.

"This account of Philip Roth traces the psychological and artistic origins of his creative life. It examines the major events of his career, while identifying a series of personal themes in his writing, from his relationship with Judaism to family, marriage, Eastern Europe and America. It addresses his private challenges from romance and health, to surviving as a writer burdened with success. The book also reflects how living outside the United States, initially in Italy and then England, plus his visits to Eastern Europe and exposure to their oppressed writers affected his writing. In particular, it primed him for a new engagement with American political and social history, resulting in a renewed determination to re-write America through his American trilogy and The Plot Against America. Although chronology is the framework, this is a thematic reading of Roth's life and career with attention to family, self-identity and success. A set of contrasting angles form this approach, beginning with his prolonged sense of discontent, yet public image of success, his search for sustained relationships but then decision to end them, his idealization of his parents but persistent undercurrent of criticism. Three overlapping issues provide the impetus for this reading: the aesthetic, the emotional and the historical. The lasting importance of such themes as anger, betrayal and failure has a vital role in understanding Roth's character and work. So, too, does his sense of performance on and off the page. Location is also significant and there are extensive discussions of Newark, London, Iowa, Prague and rural Connecticut. Particular attention to writers of the Holocaust, notably Primo Levi and Aharon Appelfeld, and contemporaries such as Saul Bellow and Bernard Malamud, also frame the narrative along with discussions of John Updike, Cynthia Ozick, Norman Mailer, Nadine Gordimer and Nicole Krauss. Works receiving special attention are Portnoy's Complaint, The Ghost Writer, Sabbath's Theater and the American trilogy. The shifting patterns of Roth's writing style, often related to changes in his physical and psychological health, are also considered. But more importantly is Roth's character and how early incidents formed later behavior, especially his inability to forget the past, particularly an insult or criticism. Analysis of his life with his two wives, Margaret (Maggie) Williams and Claire Bloom also occurs, as well as his relationships with other women. Further commentary focuses on Roth's illnesses and his life after he publically announced that he had stopped writing"--

During the hard and bitter years of his youth in England, Harry Bernstein’s selfless mother never stops dreaming of a better life in America, no matter how unlikely. Then, one miraculous day when Harry is twelve years old, steamship tickets arrive in the mail, sent by an anonymous benefactor. Suddenly, a new life full of the promise of prosperity seems possible–and the family sets sail for America, meeting relatives in Chicago. For a time, they get a taste of the good life: electric lights, a bathtub, a telephone. But soon the harsh realities of the Great Depression envelop them. Skeletons in the family closet come to light, mafiosi darken their doorstep, family members are lost, and dreams are shattered. In the face of so much loss, Harry and his mother must make a fateful decision–one that will change their lives forever. And though he has struggled for so long, there is an incredible bounty waiting for Harry in New York: his future wife, Ruby. It is their romance that will finally bring the peace and happiness that Harry’s mother always dreamed was possible.

"Philip Roth (1933-2018) is one of the most celebrated American writers of his age. Born in Newark, New Jersey -- where his short stories and thirty-one books were often set -- he wrote with immense ambition and drive, along with a keen awareness of what must be done to produce great literature. Yet despite rubbing shoulders with the Kennedys and engaging in a spate of famous and infamous romances, he viewed himself as socially withdrawn, living much like an "unchaste monk" (his words). In this original and lucid biography, Steven J. Zipperstein captures Roth's complex life and the astonishing range of his self-reflective writings-from "Goodbye, Columbus" and "Portnoy's complaint" to the Pulitzer Prize-winning "American pastoral" and "The plot against America." Employing extensive archival research and well over one hundred interviews, including conversations with Roth himself, Zipperstein provides an intimate and probing look at one of the twentieth century's most influential authors, placing his work in the context of Jewishness, freedom, and sexuality in America"-- Provided by publisher.

"Once upon a time there were three men who exemplified, without knowing it, my ideal in life. All of them became famous as writers, influential thinkers, and public figures. Their names are Clifton Fadiman, Lionel Trilling, and Jacques Barzun. They met in college, they remained aware of one another as friends or, if less than friends, companions and fellow crusaders on behalf of similar ideals. Although one of them never knew of my existence, the second ignored it, and the third treated me with formal kindness, without them I would have had no concrete model in my youth of what I wanted to become. Theirs was the universe in which I wished to have my being." With these words, Carolyn Heilbrun begins a personal, pointed, and surprisingly moving account of how a woman, destined to become one of the leading feminist critics of her day as well as one of our most popular mystery novelists, found the models for the life she aspired to in men who neither imagined nor countenanced women as their equals or colleagues. Remembering these three figures as they were when she hung upon their printed words and professorial presences, reappraising them now half a century later, Heilbrun vividly evokes what these remarkable individuals had to offer to an admiring young woman who could not acknowledge—and later would not accept—the impossibility of following in their paths. In the admired anthologies, magazine articles, and introductions through which Fadiman transmitted the world of high culture to an educated general public, he indicated no devotion to questions of female destiny; yet long before Heilbrun could imagine the life in the academy that was denied to Fadiman but would eventually be hers, his was the career to which she privately aspired. Later, in her days as a graduate student at Columbia, it was Trilling who would have the most powerful intellectual effect upon her, formulating as he did the tensions inherent in the desire to salvage what was of worth from a sad, almost moribund culture, even if he frankly admitted to no interest in teaching women or in considering their destinies beyond the domestic sphere. Only the courtly Barzun, also a mentor at Columbia, seemed capable of respecting female accomplishment and eschewing stereotyped views of women. Yet together, all three men unconsciously made Heilbrun's life as a feminist possible, by representing both what she wished to join and what she needed to struggle against. When Men Were the Only Models We Had is a loving, admiring, but stringent account of youthful enthusiasms, of the romance of ideas, of the intellectual brilliance of three unwitting mentors, and of the hopelessness of female ambition in the years before the feminist movement of the last three decades of the last century. And it is, in the end, a book that offers splendid proof that the models we once had are no longer the only ones before us.