A prismatic, provocative look at one family—led by a charismatic, defense attorney father—whose bonds exist on both sides of the law The Siegels of New York are a singular creation—quirky, idealistic, shaped in large part by Robert Anthony Siegel's father, a lovable, impossible man of gargantuan appetites and sloppy ethics, a criminal defense attorney who loved his drug–dealing clients a little too much and went to prison as a result. Siegel's mother decided to pour her energies into making her children art–loving mavens of fine dining in international settings—all the things that his father was not—with Robert as her most targeted ally. Once out of prison, Siegel's father struggled with depression, attempting to reenter legal practice, with age and finances nipping at his heels. Robert, as a son and later as an author, attempts to put all of these pieces together to make a coherent shape of family before realizing that perhaps no such thing exists. Where is the thin, permeable line between right and wrong? How does one family join the greater world of normal people beyond the demimonde of drug dealers, bikers, schemers, rock musicians, and artists that swirled around them? Criminals explores those questions without easy judgments, creating a prism of an eccentric collection of characters bound together as the mysterious tribe of family.

Memoir Ethics: Good Lives and the Virtues is a philosophical study of moral themes in memoirs, exploring how memoirists present and defend perspectives on good lives. It pays particular attention to the interplay of the virtues, including their interplay with additional (non-moral) types of values in good lives. More generally, it explores the relevance of memoir to moral philosophy, and in turn how moral philosophy enters into elucidating and critiquing memoirs. Memoirs are understood as non-fiction narratives written by oneself and significantly about oneself (including full-life autobiographies). Mike W. Martin explores perspectives on good lives as they are expressed in memoirs written by both philosophers and non-philosophers. Most of the chapters focus on one of the generic aspects of good lives: moral goodness, authenticity, meaningfulness, happiness, health, and self-fulfillment. The book clarifies how memoirists often employ life-based arguments in defending value perspectives, and it includes a discussion of whether philosophers’ memoirs are distinctive, compared to memoirs by non-philosophers and also compared to other forums for doing philosophy. Martin highlights some parallels between features of good lives and features of memoirs; for example, both can be said to be meaningful, authentic, and having virtues such as wisdom and courage. Demonstrating how memoirs are rich resources in exploring the good lives and exploring ways in which philosophical ethics provide tools for interpreting memoirs, Memoir Ethics will be of interest to a broad audience of students, scholars, and general readers, including anyone interested in ethics or the connections between literature and philosophy.

A Publishers Weekly Top Ten Best Book of the Year An Amazon.com Top Ten Best Book of 2009 A Washington Post Book World’s Ten Best Book of the Year A California Literary Review Best Book of 2009 An L.A. Times Top 25 Non-Fiction Book of 2009 An NPR Best Book of the Year, Best Memoir With this stunning graphic memoir, David Small takes readers on an unforgettable journey into the dark heart of his tumultuous childhood in 1950s Detroit, in a coming-of-age tale like no other. At the age of fourteen, David awoke from a supposedly harmless operation to discover his throat had been slashed and one of his vocal chords removed, leaving him a virtual mute. No one had told him that he had cancer and was expected to die. The resulting silence was in keeping with the atmosphere of secrecy and repressed frustration that pervaded the Small household and revealed itself in the slamming of cupboard doors, the thumping of a punching bag, the beating of a drum. Believing that they were doing their best, David’s parents did just the reverse. David’s mother held the family emotionally hostage with her furious withdrawals, even as she kept her emotions hidden — including from herself. His father, rarely present, was a radiologist, and although David grew up looking at X-rays and drawing on X-ray paper, it would be years before he discovered the shocking consequences of his father’s faith in science. A work of great bravery and humanity, Stitches is a gripping and ultimately redemptive story of a man’s struggle to understand the past and reclaim his voice.

Our lives are increasingly on display in public, but the ethical issues involved in presenting such revelations remain largely unexamined. How can life writing do good, and how can it cause harm? The eleven essays here explore such questions.

Perhaps the most unconventional and literally breathtaking father-son story you'll ever read, My Friend Leonard pulls you immediately and deeply into a relationship as unusual as it is inspiring. The father figure is Leonard, the high-living, recovering coke addict "West Coast Director of a large Italian-American finance firm" (read: mobster) who helped to keep James Frey clean in A Million Little Pieces. The son is, of course, James, damaged perhaps beyond repair by years of crack and alcohol addiction-and by more than a few cruel tricks of fate. James embarks on his post-rehab existence in Chicago emotionally devastated, broke, and afraid to get close to other people. But then Leonard comes back into his life, and everything changes. Leonard offers his "son" lucrative—if illegal and slightly dangerous—employment. He teaches James to enjoy life, sober, for the first time. He instructs him in the art of "living boldly," pushes him to pursue his passion for writing, and provides a watchful and supportive veil of protection under which James can get his life together. Both Leonard's and James's careers flourish…but then Leonard vanishes. When the reasons behind his mysterious absence are revealed, the book opens up in unexpected emotional ways. My Friend Leonard showcases a brilliant and energetic young writer rising to important new challenges—displaying surprising warmth, humor, and maturity—without losing his intensity. This book proves that one of the most provocative literary voices of his generation is also one of the most emphatically human.

NATIONAL BESTSELLER • A gripping memoir about the nature of addiction and the meaning of recovery from a bold and talented literary voice. “Anyone who has ever felt broken and wished for a better life will find inspiration in Frey’s story.” —People “A great story.... You can't help but cheer his victory.” —Los Angeles Times Book Review By the time he entered a drug and alcohol treatment facility, James Frey had taken his addictions to near-deadly extremes. He had so thoroughly ravaged his body that the facility’s doctors were shocked he was still alive. The ensuing torments of detoxification and withdrawal, and the never-ending urge to use chemicals, are captured with a vitality and directness that recalls the seminal eye-opening power of William Burroughs’s Junky. But A Million Little Pieces refuses to fit any mold of drug literature. Inside the clinic, James is surrounded by patients as troubled as he is—including a judge, a mobster, a one-time world-champion boxer, and a fragile former prostitute to whom he is not allowed to speak—but their friendship and advice strikes James as stronger and truer than the clinic’s droning dogma of How to Recover. James refuses to consider himself a victim of anything but his own bad decisions, and insists on accepting sole accountability for the person he has been and the person he may become—which runs directly counter to his counselors' recipes for recovery. James has to fight to find his own way to confront the consequences of the life he has lived so far, and to determine what future, if any, he holds. It is this fight, told with the charismatic energy and power of One Flew over the Cuckoo's Nest, that is at the heart of A Million Little Pieces: the fight between one young man’s will and the ever-tempting chemical trip to oblivion, the fight to survive on his own terms, for reasons close to his own heart. "

"From social media to the return of the personal essay to the rise of "autofiction," it seems we inhabit an era of unprecedented self-display. But self-display in its literary form, the memoir, has been around for ages, always freighted with formal and philosophical complexity from Augustine's Confessions on. In this book, philosopher Helena de Bres tackles the philosophy of memoir. What is memoir? Is all memoir really fiction? Should memoirists aim to tell the truth? What do memoirists owe the people they write about? And finally: Why write a memoir at all?"--