"Ray Johnson, considered the progenitor of Correspondence art, blurred the boundaries between life and art, authorship and intimacy. The defining nature of his work were his letters (often both visual and textual in character), intended to be received, replied to (altered and embellished) and read, again and again. This lovingly curated collection of more than 200 mostly previously unpublished writings - including selected letters, minutes for "New York Correspondence School" meetings, hand-written notes and other writings - opens a new view into the whirling flux of Johnson's art, highlighting his keen sense of play as well as his attuned sensitivity to both language and the shifting nature of meaning. Cumulatively, the writings reveal not only how he created relationships, glyphs and puzzles by connecting words, phrases, people and ideas, but also something about the elusive Johnson himself"--From the publisher.

** A New York Times Bestseller ** NAMED ONE OF THE BEST BOOKS OF THE YEAR BY: Time • The New Yorker • NPR • GQ • Elle • Vulture • Fortune • Boing Boing • The Irish Times • The New York Public Library • The Brooklyn Public Library "A complex, smart and ambitious book that at first reads like a self-help manual, then blossoms into a wide-ranging political manifesto."—Jonah Engel Bromwich, The New York Times Book Review One of President Barack Obama's "Favorite Books of 2019" Porchlight's Personal Development & Human Behavior Book of the Year In a world where addictive technology is designed to buy and sell our attention, and our value is determined by our 24/7 data productivity, it can seem impossible to escape. But in this inspiring field guide to dropping out of the attention economy, artist and critic Jenny Odell shows us how we can still win back our lives. Odell sees our attention as the most precious—and overdrawn—resource we have. And we must actively and continuously choose how we use it. We might not spend it on things that capitalism has deemed important … but once we can start paying a new kind of attention, she writes, we can undertake bolder forms of political action, reimagine humankind’s role in the environment, and arrive at more meaningful understandings of happiness and progress. Far from the simple anti-technology screed, or the back-to-nature meditation we read so often, How to do Nothing is an action plan for thinking outside of capitalist narratives of efficiency and techno-determinism. Provocative, timely, and utterly persuasive, this book will change how you see your place in our world.

Winner of the Scotiabank Giller Prize and the Governor General's Literary Award Finalist for the Booker Prize and the Baileys Women's Prize for Fiction "A powerfully expansive novel…Thien writes with the mastery of a conductor." —New York Times Book Review “In a single year, my father left us twice. The first time, to end his marriage, and the second, when he took his own life. I was ten years old.” Master storyteller Madeleine Thien takes us inside an extended family in China, showing us the lives of two successive generations—those who lived through Mao’s Cultural Revolution and their children, who became the students protesting in Tiananmen Square. At the center of this epic story are two young women, Marie and Ai-Ming. Through their relationship Marie strives to piece together the tale of her fractured family in present-day Vancouver, seeking answers in the fragile layers of their collective story. Her quest will unveil how Kai, her enigmatic father, a talented pianist, and Ai-Ming’s father, the shy and brilliant composer, Sparrow, along with the violin prodigy Zhuli were forced to reimagine their artistic and private selves during China’s political campaigns and how their fates reverberate through the years with lasting consequences. With maturity and sophistication, humor and beauty, Thien has crafted a novel that is at once intimate and grandly political, rooted in the details of life inside China yet transcendent in its universality.

Discusses the importance of zero in the decimal system and its many uses.

Rosemary Candwell's past has exploded into her present. Down-and-out and deteriorating, she drifts from anonymous beds and bars in Providence, to a homeless shelter hidden among the hedge-rowed avenues of Newport, and through the revolving door of service jobs and quick-fix psychiatric care, always grasping for hope, for a solution. She's desperate to readjust back into a family and a world that has deemed her a crazy bitch living a choice they believe she could simply un-choose at any time. She endures flashbacks and panic attacks, migraines and nightmares. She can't sleep or she sleeps for days; she lashes out at anyone and everyone, especially herself. She abuses over-the-counter cold medicine and guzzles down anything caffeinated just to feel less alone. What if her family is right? What if she is truly broken beyond repair?Drawn from the author's experience of homelessness and trauma recovery, It's Not Nothing is a collage of small moments, biting jokes, intrusive memories, and quiet epiphanies meant to reveal a greater truth: Resilience never looks the way we expect it to look.

In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to some of the greatest poets of our literature. Wallace Stevens was born in Pennsylvania in 1879. Harmonium, published in 1923, became a landmark in modern American poetry with its startling imagery and meditations on art, reality and imagination. It was followed by Ideas of Order, The Man with the Blue Guitar and Other Poems, Notes toward a Supreme Fiction, Transport to Summer and The Necessary Angel. Stevens died in 1955.

A woefully overmatched PI must confront his past and solve a murder in rural Texas.