Marcel Bénabou is quick to acknowledge that his own difficulty in writing has plenty of company. Words stick and syntax is stubborn, meaning slips and synonyms cluster. A blank page taunts and a full one accuses. Bénabou knows the heroic joy of depriving critics of victims, the kindness of sparing publishers decisions, and the public charity of leaving more room in bookstore displays. Why I Have Not Written Any of My Books (Pourquoi je n’ai écrit aucun de mes livres) provides both a respectful litany of writers’ fears and a dismissal of the alibis offered to excuse them.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

As stubborn, as surprising, as artful as life in its refusal to conform to a particular literary genre, Marcel Bänabou?s book is at once a memoir and a novel, a confession and a reflection on the prerogatives and imperatives of writing one?s story. At its center, forever alluring and elusive, is the beautiful and ethereal Tamara, the exact incarnation of our narrator?s most enduring fantasy?a femme fatale for the lover of form. Who precisely our narrator is, is less certain: The young Manuel, who leaves his home in Morocco to study in Paris, only to encounter the enticing Tamara? Or the mature Manuel, looking back not only at Tamara but also at the younger man?s reading of his experience through the pages of the literature of sentimental apprenticeship, from Stendhal?s The Red and the Black through Flaubert?s Sentimental Education? A heady, genre-defying high-wire act by a writer who delights in such undertakings and whose efforts consistently delight readers worldwide, To Write on Tamara? captures with graceful authority and assurance the now thrilling, now vexing complexities of living and writing life?s stories, especially stories of love.

Communicating his ideas in the form of a classical dialogue between a youth and a wise elder, cosmologist Brian Swimme crafts a fascinating exploration into the creativity suffusing the universe. His explication of the fundamental powers of the cosmos is mystical and ecstatic and points directly to the need to activate one’s own creative powers.

The Story Behind THE LEGEND OF BAGGER VANCE If you've read his books THE WAR OF ART and TURNING PRO, you know that for thirty years Steven Pressfield (GATES OF FIRE, THE AFGHAN CAMPAIGN etc.) wrote spec novel after spec novel before any publisher took him seriously. How did he finally break through? Ignoring just about every rule of commercial book publishing, Pressfield's "first" novel not only became a major bestseller (over 250,000 copies sold), it was adapted into a feature film directed by Robert Redford and starring Matt Damon, Will Smith, and Charlize Theron. Where did he get the idea? What magical something did THE LEGEND OF BAGGER VANCE have that his previous manuscripts lacked? Why did Pressfield decide to write a novel when he already had a well established screenwriting career? How does writing a publishable novel really work? Taking a page from John Steinbeck's classic JOURNAL OF A NOVEL, Steven Pressfield offers answers for these and scores of other practical writing questions in THE AUTHENTIC SWING.

THE OLDEST SECRET SOCIETY OF INDIA. THE GREATEST TREASURE IN THE HISTORY OF MANKIND. THE MOST EPIC MYSTERY OF THE ANCIENT WORLD. When the richest man of India confesses to being part of a secret society in a live press conference; chaos ensues. His daughter Aanya Vashishtha takes the help of Aarav Kohrrathi, a brilliant but egoistic treasure hunter and his friend Rehann to solve the mystery of The Ring of the Seven, a society of influential men who are tasked to protect the greatest treasure in history. What starts off as a quest to uncover her father’s secret leads them to something bigger which they themselves couldn’t have fathomed. They take the help from her father’s associate, Shayna Maheshwari, a billionaire banker and someone herself involved with the secret, as they progress towards a treasure hidden somewhere in the Himalayas. They brave bullets, puzzles, deadly chases, cult of assassins, and betrayal as their quest takes them across the length and breadth of South Asia; from the bustling metropolises of Mumbai and Delhi to the ancient temples of Nepal; from the serene beaches of Sri Lanka to the towering mountains of the Himalayas. They try to uncover a set of secret books of lost arts, which are believed to reveal the map of the treasure, and strive to discover the identities of the masters of the Ring of the Seven to solve the penultimate mystery. In a tale of love and loss, logic and emotions, religion and history, action and adventure, and the trial of a few good men against the most powerful organization in the history of mankind. Will they find the secret of the Himalayan treasure?

In a deeply personal and moving book, the beloved NPR radio host speaks out about the long drawn-out death (from Parkinson's) of her husband of fifty-four years, and of her struggle to reconstruct her life without him. With John gone, Diane was indeed "on her own," coping with the inevitable practical issues and, more important, with the profoundly emotional ones. What to do, how to react, reaching out again into the world--struggling to create a new reality for herself while clinging to memories of the past. Her focus is on her own roller-coaster experiences, but she has also solicited the moving stories of such recently widowed friends as Roger Mudd and Susan Stamberg, which work to expose the reader to a remarkable range of reactions to the death of a spouse. John's unnecessarily extended death--he begged to be helped to die--culminated in his taking matters into his own hands, simply refusing to take water, food, and medication. His heroic actions spurred Diane into becoming a kind of poster person for the "right to die" movement that is all too slowly taking shape in our country. With the brave determination that has characterized her whole life, she is finding a meaningful new way to contribute to the world. Her book--as practical as it is inspiring--will be a help and a comfort to the recently bereaved, and a beacon of hope about the possibilities that remain to us as we deal with our own approaching mortality.