Reprint of the original, first published in 1861.

Reprint of the original, first published in 1883.

After labor, it’s time for rest: A gentle guide to zuo yuezi, the ancient Chinese practice of postpartum self-care, including sixty simple recipes. The first forty days after the birth of a child offer an essential and fleeting period of rest and recovery for the new mother. Based on Heng Ou’s own postpartum experience with zuo yuezi, a set period of “confinement” in which a woman remains at home focusing on healing and bonding with her baby, The First Forty Days revives the lost art of caring for the mother after birth. As modern mothers are pushed to prematurely “bounce back” after delivering their babies, and are often left alone to face the physical and emotional challenges of this new stage of their lives, the first forty days provide a lifeline—a source of connection, nourishment, and guidance. This book includes sixty simple recipes for healing soups, replenishing meals and snacks, and calming and lactation-boosting teas, all formulated to support the unique needs of the new mother. In addition to recipes, this warm and encouraging guide offers advice on arranging a system of help during the postpartum period, navigating relationship challenges, and honoring the significance of pregnancy and birth. Fully illustrated, it is a practical guide and inspirational read for all new mothers and mothers-to-be—the perfect ally during the first weeks with a new baby. “Bringing our attention back to the importance of the postpartum period for new mothers helps to create space for this essential period of integration and recovery . . . an invaluable companion during the first 40 days and beyond.” —Ricki Lake & Abby Epstein, filmmakers, The Business of Being Born

A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013