Funny, insightful, and relentlessly honest, this book is the manual for living with depression that everyone should have been given.It's packed with bite-sized chapters covering big-picture concepts, 60+ research-backed tools, and a friendly, no-nonsense style. This guide will get you through visits from depression and into a value-filled life.

For most of its thirteen-year history as a beloved and decorated music magazine, No Depression sought to be an instrument of change: to draw attention to the deep well of American musical traditions; to shine a light on performers whose gifts far exceed the size of their audiences or their pocketbooks; and to provide a safe harbor for the best long-form writing about music on the newsstand. These traditions continue through No Depression's now semi-annual series of bookazines. The inaugural bookazine, numberedND #76so as to make explicit the continuity betweenNo Depression's original and new formats, focused on the next generation of emerging roots music performers.ND #78, due out the fall of 2009, will focus on prominent families in American roots music, kinfolk who have stretched their artistic influence across generations. This will include in-depth pieces about bedrock clans of country music—the Carters and the Cashes—and folk music—the Guthries and the Seegers; profiles of country mavericks Steve and Justin Townes Earle and of jazz great Charlie Haden and his musically adventurous children; plus a more "metaphorical family" piece on the artistic "sons" of bluesman Rev. Gary Davis. The magazine's cofounders and coeditors, Grant Alden and Peter Blackstock, continue to guide the bookazine. The magazine's senior writers and contributors remain on board to shape the tone and voice of the bookazine, and its distinctive graphic design imprint continues in the hands of ND art director Grant Alden.

To celebrate the tenth anniversary of alternative country music magazine "No Depression," this anthology contains 25 of the magazine's best and most representative feature articles on venerated artists and songwriters of genuine American roots music.

Nowhere was the transition from church-based aid to federal welfare state brought about by the Great Depression more dramatic than in the South. For a moment, the southern Protestant establishment turned to face the suffering that plantation capitalism pushed behind its image of planter's hatsand hoopskirts. When starving white farmers marched into an Arkansas town to demand food for their dying children and when priests turned away hungry widows and orphans because they were no needier than anyone else, southern clergy of both races spoke with one voice to say that they had done allthey could. It was time for a higher power to intervene. They looked to God, and then they looked to Roosevelt.When Roosevelt promised a new deal for the "forgotten man," Americans cheered, and when he took office, churches and private agencies gratefully turned much of the responsibility for welfare and social reform over to the state. Yet, argues historian Allison Collis Greene, Roosevelt's New Dealthreatened plantation capitalism even while bending to it. Black southern churches worked to secure benefits for their own communities while white churches divided over loyalties to Roosevelt and Jim Crow. Frustrated by their failure and fractured by divisions over the New Deal, leaders in the majorwhite Protestant denominations surrendered their moral authority in the South. Although the Protestant establishment retained a central role in American life for decades after the Depression, its slip from power made room for upstart Pentecostals and independent evangelicals, who emphasized personalrather than social salvation.

A candid and moving memoir from the critically acclaimed singer and songwriter For thirty years as a musician, Rosanne Cash has enjoyed both critical and commercial success, releasing a series of albums that are as notable for their lyrical intelligence as for their musical excellence. Now, in her memoir, Cash writes compellingly about her upbringing in Southern California as the child of country legend Johnny Cash, and of her relationships with her mother and her famous stepmother, June Carter Cash. In her account of her development as an artist she shares memories of a hilarious stint as a twenty-year-old working for Columbia Records in London, recording her own first album on a German label, working her way to success, her marriage to Rodney Crowell, a union that made them Nashville's premier couple, her relationship with the country music establishment, taking a new direction in her music and leaving Nashville to move to New York. As well as motherhood, dealing with the deaths of her parents, in part through music, the process of songwriting, and the fulfillment she has found with her current husband and musical collaborator, John Leventhal. Cash has written an unconventional and compelling memoir that, in the tradition of M. F. K. Fisher's The Gastronomical Me and Frank Conroy's Stop-Time, is a series of linked pieces that combine to form a luminous and brilliant whole.

#1 New York Times Bestseller “Funny and smart as hell” (Bill Gates), Allie Brosh’s Hyperbole and a Half showcases her unique voice, leaping wit, and her ability to capture complex emotions with deceptively simple illustrations. FROM THE PUBLISHER: Every time Allie Brosh posts something new on her hugely popular blog Hyperbole and a Half the internet rejoices. This full-color, beautifully illustrated edition features more than fifty percent new content, with ten never-before-seen essays and one wholly revised and expanded piece as well as classics from the website like, “The God of Cake,” “Dogs Don’t Understand Basic Concepts Like Moving,” and her astonishing, “Adventures in Depression,” and “Depression Part Two,” which have been hailed as some of the most insightful meditations on the disease ever written. Brosh’s debut marks the launch of a major new American humorist who will surely make even the biggest scrooge or snob laugh. We dare you not to. FROM THE AUTHOR: This is a book I wrote. Because I wrote it, I had to figure out what to put on the back cover to explain what it is. I tried to write a long, third-person summary that would imply how great the book is and also sound vaguely authoritative—like maybe someone who isn’t me wrote it—but I soon discovered that I’m not sneaky enough to pull it off convincingly. So I decided to just make a list of things that are in the book: Pictures Words Stories about things that happened to me Stories about things that happened to other people because of me Eight billion dollars* Stories about dogs The secret to eternal happiness* *These are lies. Perhaps I have underestimated my sneakiness!