The 1937 Sequel to THE AUTOBIOGRAPHY OF ALICE B TOKLAS, is Stein's account of her triumphant return to the U.S, and a meditation of the meaning of identity, success and America. I used to be fond of saying that America was a land of failure. Most of the great men in America had a long life of early failure and a long life of later failure'. A darker work than TOKLAS, but written in a similarily engaging manner, this is Stein at her most accessible and her most serious; it should be amongst her most popular books.'

“Alice B. Toklas wrote hers and now everybody will write theirs.” In 1933 Gertrude Stein’s The Autobiography of Alice B. Toklas skyrocketed to the top of the bestseller lists, and the author found herself a celebrity. Everybody’s Autobiography is the very Steinian account of her soul-satisfying next five years in France, England, and America, where she made a triumphant tour of the country. Here are Stein’s devastating analyses of some of the major figures of the day whom she met—among them Dashiell Hammett, Charlie Chaplin, Pablo Picasso, Marianne Moore, Mrs. Roosevelt, and Sherwood Anderson—and also of her own life and work.

In American Silence , a complement to his previous study Trickster in the Land of Dreams , Zeese Papanikolas investigates a number of significant American cultural artifacts and the lives of their makers. For Papanikolas, both the private failures and public successes of Clarence King, Henry Adams, Gertrude Stein, Ernest Hemingway, Raymond Chandler, and Hank Williams resonate with silences.

This volume offers sixteen original essays that attest to the extraordinary inventiveness and range of modernist autobiography. It examines the ways modernist writers chose to tell their life stories, with particular attention to forms, venues, modes of address, and degrees of truthfulness. The essays are grouped around a set of rubrics that isolate the distinctive character and shared preoccupations of modernist life-writings: questions of ancestry and tradition that foreground the modernists' troubled relation to their immediate familial as well as cultural past; their emergence as writers whose experiences found expression in untraditional and singular forms; their sense of themselves as survivors of personal and historical traumas; and their burdens as self-chroniclers of loss, especially of self-loss. It will appeal especially to scholars and students of literary modernism and English literature more generally.

For the first time, music legend and humanitarian activist Dionne Warwick reflects on 50 years in showbusiness and the lessons she has learned from being an artist, a mother and a global icon. From her rise to superstardom to raising millions of dollars for AIDS research, she gives readers a glimpse into her dazzling, inspiring life. 'If you think you can do it, you can do it' was the advice she got from her grandfather as a young girl - words she has never forgotten. Like her music and humanitarian work, her story is guaranteed to give hope and inspiration to people across the world.

Rock music; for voice and guitar, with chord symbols.

Can a breakup break you apart? In Self-Titled, Geoffrey Brown stares into a mirror and writes what he sees, what he thinks, what he feels. The result? A self-portrait that's at once comic and psychotic, a complex consciousness captured in crystalline prose. Memories, manias, miasmas - Brown morphs the machinery of his mind into an utterly original entity, equal parts diary, criminal confession, sex manual and mash note, as hecontemplates a breakup. The novel splits into two parts; in 'First,' our slacker hero analyzes the minutiae of the relationship, trying to understand what he did, why it went wrong, and whether she'll come back. In 'Second' he knows she's not coming back, and he gets angry, flagellating himself with a whip of wordplay and remorse. Self-Titled is a singular achievement with universal appeal: who hasn't squinted into a mirror and said, 'What the hell is happening here?' If Gertrude Stein's autobiography was Everybody's Autobiography, then Brown's self-portrait is everybody's self-portrait. Guest edited for the press by Derek McCormack.