“[Manguso] has written the memoir we didn’t realize we needed.” —The New Yorker In Ongoingness, Sarah Manguso continues to define the contours of the contemporary essay. In it, she confronts a meticulous diary that she has kept for twenty-five years. “I wanted to end each day with a record of everything that had ever happened,” she explains. But this simple statement belies a terror that she might forget something, that she might miss something important. Maintaining that diary, now eight hundred thousand words, had become, until recently, a kind of spiritual practice. Then Manguso became pregnant and had a child, and these two Copernican events generated an amnesia that put her into a different relationship with the need to document herself amid ongoing time. Ongoingness is a spare, meditative work that stands in stark contrast to the volubility of the diary—it is a haunting account of mortality and impermanence, of how we struggle to find clarity in the chaos of time that rushes around and over and through us. “Bold, elegant, and honest . . . Ongoingness reads variously as an addict’s testimony, a confession, a celebration, an elegy.” —The Paris Review “Manguso captures the central challenge of memory, of attentiveness to life . . . A spectacularly and unsummarizably rewarding read.” —Maria Popova, Brain Pickings

For the first time—and in the best translation ever—the complete Book of Disquiet, a masterpiece beyond comparison The Book of Disquiet is the Portuguese modernist master Fernando Pessoa’s greatest literary achievement. An “autobiography” or “diary” containing exquisite melancholy observations, aphorisms, and ruminations, this classic work grapples with all the eternal questions. Now, for the first time the texts are presented chronologically, in a complete English edition by master translator Margaret Jull Costa. Most of the texts in The Book of Disquiet are written under the semi-heteronym Bernardo Soares, an assistant bookkeeper. This existential masterpiece was first published in Portuguese in 1982, forty-seven years after Pessoa’s death. A monumental literary event, this exciting, new, complete edition spans Fernando Pessoa’s entire writing life.

In Pieces celebrates the diversity of contemporary fragmentary writing by offering a sampling of fragments written by 37 different writers--those who are known as well as new voices. Selections from diaries, notebooks, and letters; aphorisms; short prose pieces and vignettes... These are some of the fragmentary forms represented in this unique collection, the first of its kind to present a wide range of fragmentary writing as its own genre.

A poet and author recounts her nine-year struggle with a rare autoimmune disease in this spare and unsparing memoir of illness and recovery. At twenty-one, just as she was starting to comprehend the puzzles of adulthood, Sarah Manguso was faced with another: a wildly unpredictable disease that appeared suddenly and tore through her twenties, paralyzing her for weeks at a time, programming her first to expect nothing from life and then, furiously, to expect everything. In this captivating story, Manguso recalls her struggle: arduous blood cleansings, collapsed veins, multiple chest catheters, the deaths of friends and strangers, addiction, depression, and, worst of all for a writer, the trite metaphors that accompany prolonged illness. A book of tremendous grace and self-awareness, The Two Kinds of Decay transcends the very notion of what an illness story can and should be. Praise for The Two Kinds of Decay A New York Times Book Review Editors’ Choice Best Book of the Year, San Francisco Chronicle and Time Out Chicago “Moving . . . a fiercely truthful memoir.” —The Boston Globe “Hers is not a day-by-day description of this grueling time, but an impressionistic text filled with bright, poetic flashes. . . . Many sick people learn to live in the moment, but the power of Manguso’s writing makes that truism revelatory.” —The Washington Post Book World “Sarah Manguso has miraculously elevated the act of memory. She has found honesty, fear, longing and beauty in every moment of her young life, giving this book an intensity found nowhere else. You put it down panting with wonder and grief, but never with pity. A breakthrough in the memoir, and in writing.” —Andrew Sean Greer

The diary is a genre that is often thought of as virtually formless, a "capacious hold-all" for the writer’s thoughts, and as offering unmediated access to the diarist’s true self. Focusing on the diaries of Katherine Mansfield, Virginia Woolf, Antonia White, Joe Orton, John Cheever, and Sylvia Plath, this book looks at how six very different professional writers have approached the diary form with its particular demands and literary potential. As a sequence of separate entries the diary is made up of both gaps and continuities, and the different ways diarists negotiate these aspects of the diary form has radical effects on how their diaries represent both the world and the biographical self. The different published editions of the diaries by Katherine Mansfield, Virginia Woolf and Sylvia Plath show how editorial decisions can construct sometimes startlingly different biographical portraits. Yet all diaries are constructed, and all diary constructions depend on how the writer works with the diary form.