A signature goal-setting method to unlock the life you want, from the founder of ClassPass. Grant yourself permission to plan and prioritize your life in connection to your calling. When Payal Kadakia let go of the pressure to achieve a traditional kind of success, she tuned into her calling and built ClassPass into a billion-dollar business. In LifePass, she shares her signature goal-setting method that not only changed her approach to her career, but her entire life. You will learn to push through limits, fuel your life with purpose, and become an expert at achieving your goals—both professionally and personally. It's time to live by your own rules. LifePass shows you how.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 The moment that launched my career was also one of the lowest points of it. I was working at Bain Company, a prestigious management consulting firm in New York City, because it seemed like what I was supposed to do. But six months before my contract was up for renewal, I was given negative feedback. #2 I had been set on staying top bucket at Bain, but as I thought about what that commitment really meant, I realized it wasn’t my dream job. I was willing to leave work at five or six each night instead of ten, and I was able to dance in the evenings. #3 I realized that the negative review stemmed from my own insecurities and desire for external validation. I had to find a way to be responsible and make money while also opening up more time to pursue my calling. #4 Your calling is a passion that exists both for yourself and for the benefit of others. In order for this calling to exist, you must first discover it and then prioritize it.

The Good Place is a fantasy-comedy TV show about the afterlife. Eleanor dies and finds herself in the Good Place, which she understands must be mistake, since she has been anything but good. In the surprise twist ending to Season One, it is revealed that this is really the Bad Place, but the demon who planned it was frustrated, because the characters didn’t torture each other mentally as planned, but managed to learn how to live together. In ,i>The Good Place and Philosophy, twenty-one philosophers analyze different aspects of the ethical and metaphysical issues raised in the show, including: ● Indefinitely long punishment can only be justified as a method of ultimately improving vicious characters, not as retribution. ● Can individuals retain their identity after hundreds of reboots? ● Comparing Hinduism with The Good Place, we can conclude that Hinduism gets things five percent correct. ● Looking at all the events in the show, it follows that humans don’t have free will, and so people are being punished and rewarded unjustly. ● Is it a problem that the show depicts torture as hilarious? This problem can be resolved by considering the limited perspective of humans, compared with the eternal perspective of the demons. ● The Good Place implies that even demons can develop morally. ● The only way to explain how the characters remain the same people after death is to suppose that their actual bodies are transported to the afterlife. ● Since Chidi knows all the moral theories but can never decide what to do, it must follow that there is something missing in all these theories. ● The show depicts an afterlife which is bureaucratic, therefore unchangeable, therefore deeply unjust. ● Eleanor acts on instinct, without thinking, whereas Chidi tries to think everything through and never gets around to acting; together these two characters can truly act morally. ● The Good Place shows us that authenticity means living for others. ● The Good Place is based on Sartre’s play No Exit, with its famous line “Hell is other people,” but in fact both No Exit and The Good Place inform us that human relationships can redeem us. ● In The Good Place, everything the humans do is impermanent since it can be rebooted, so humans cannot accomplish anything good. ● Kant’s moral precepts are supposed to be universal, but The Good Place shows us it can be right to lie to demons. ● The show raises the question whether we can ever be good except by being part of a virtuous community.

“A gorgeous memoir about mothers, daughters, and the tenacity of the love that grows between what is said and what is left unspoken.”—Mira Jacob, author of Good Talk If our family stories shape us, what happens when we learn those stories were never true? Who do we become when we shed our illusions about the past? Maya Shanbhag Lang grew up idolizing her brilliant mother, an accomplished physician who immigrated to the United States from India and completed her residency all while raising her children and keeping a traditional Indian home. Maya’s mother had always been a source of support—until Maya became a mother herself. Then the parent who had once been so capable and attentive became suddenly and inexplicably unavailable. Struggling to understand this abrupt change while raising her own young child, Maya searches for answers and soon learns that her mother is living with Alzheimer’s. Unable to remember or keep track of the stories she once told her daughter—stories about her life in India, why she immigrated, and her experience of motherhood—Maya’s mother divulges secrets about her past that force Maya to reexamine their relationship. It becomes clear that Maya never really knew her mother, despite their close bond. Absorbing, moving, and raw, What We Carry is a memoir about mothers and daughters, lies and truths, receiving and giving care, and how we cannot grow up until we fully understand the people who raised us. It is a beautiful examination of the weight we shoulder as women and an exploration of how to finally set our burdens down. Praise for What We Carry "Part self-discovery, part family history. . . [Lang's] analysis of the shifting roles of mothers and daughters, particularly through the lens of immigration, help[s] to challenge her family’s mythology. . . . Readers interested in examining their own family stories . . . will connect deeply with Lang’s beautiful memoir."—Library Journal (Starred Review) “A stirring memoir exploring the fraught relationships between mothers and daughters . . . astutely written and intense . . . [What We Carry] will strike a chord with readers.”—Publishers Weekly “Lang is an immediately affable and honest narrator who offers an intriguing blend of revelatory personal history and touching insight.”—BookPage

"Once more, Tim Cahill, intrepid voyager to the most mind-boggling and extreme of locations, sets forth into the wild and wonderful. In PASS THE BUTTERWORMS Cahill takes us to the steppes of Mongolia, where he spends weeks on horseback alongside the descendents of Ghengis Khan and masters the 'Mongolian death trot'; to the North Pole, where he goes for a pleasure dip in 36-degree water; to Irian Jaya New Guinea, where he spends a companionable evening with members of one of the last head-hunting tribes. Whether observing family values among Stone-Age Dani people, or sampling delicacies like sauteed sago beetle and premasticated manioc beer, Cahill is a fount of arcane information and a master of self-deprecating humour."