From an inside peek at the inner workings of Hollywood to the backstage drama of Broadway, from a poignant look at the black upper class to an honest look at the WASP elite, this elegantly wrought memoir of an extraordinary family has something for everyone. Growing up with a black Auntie Mame-like mother (who performed with the likes of Lena Horne) and an Anglo sea-faring father, Susan Fales-Hill moved seamlessly between many worlds. But it was from her mother -- a woman who was dressed by Givenchy and sculpted by Alexander Calder, yet rejected by many a casting agent for her "dark," unconventional looks -- that Susan drew inspiration, particularly when she faced challenges in her own career as a television writer in Hollywood, a town that wasn't always receptive to positive images of people of color. As a result the two developed a bond that mothers and daughters everywhere will find inspiring. Both a universally touching mother-daughter story and a portrait of a dazzling American family, Always Wear Joy is a memoir readers won't soon forget.

Thousands of books have examined the effects of parents on their children. In All Joy and No Fun, award-winning journalist Jennifer Senior now asks: what are the effects of children on their parents? In All Joy and No Fun, award-winning journalist Jennifer Senior tries to tackle this question, isolating and analyzing the many ways in which children reshape their parents' lives, whether it's their marriages, their jobs, their habits, their hobbies, their friendships, or their internal senses of self. She argues that changes in the last half century have radically altered the roles of today's mothers and fathers, making their mandates at once more complex and far less clear. Recruiting from a wide variety of sources—in history, sociology, economics, psychology, philosophy, and anthropology—she dissects both the timeless strains of parenting and the ones that are brand new, and then brings her research to life in the homes of ordinary parents around the country. The result is an unforgettable series of family portraits, starting with parents of young children and progressing to parents of teens. Through lively and accessible storytelling, Senior follows these mothers and fathers as they wrestle with some of parenthood's deepest vexations—and luxuriate in some of its finest rewards. Meticulously researched yet imbued with emotional intelligence, All Joy and No Fun makes us reconsider some of our culture's most basic beliefs about parenthood, all while illuminating the profound ways children deepen and add purpose to our lives. By focusing on parenthood, rather than parenting, the book is original and essential reading for mothers and fathers of today—and tomorrow.

It is a summer that will change everything . . . .NaTasha has a wonderful life in affluent Park Adams. She fits in, she has friends, and she's a member of the all-white ballet troupe. Being nearly the only African American in her school doesn't bother NaTasha. But it bothers Tilly, NaTasha's spitfire grandmother from Harlem, who decides NaTasha needs to get back to her roots or her granddaughter is in danger of losing herself completely. Tilly whisks NaTasha away to a world where all of a sudden nothing in NaTasha's life makes any sense: Harlem and Comfort Zone in the Bronx, a crisis center where (cont'd)

A passionate attempt to capture for some and rekindle for others the fascination, the exuberance, and the sheer joy of reading, this volume offers humorous and delightful anecdotes as proof that to experience the beauty and power of the written word, one need only open a good book.

One hundred of the most evocative modern poems on joy, selected by an award-winning contemporary poet "Bursting with energy and surprising locutions. . . . Even the most familiar poets seem somehow new within the context of Joy."--David Skeel, Wall Street Journal"Wiman takes readers through the ostensible ordinariness of life and reveals the extraordinary."--Adrianna Smith, The Atlantic Christian Wiman, a poet known for his meditations on mortality, has long been fascinated by joy and by its relative absence in modern literature. Why is joy so resistant to language? How has it become so suspect in our times? Manipulated by advertisers, religious leaders, and politicians, joy can seem disquieting, even offensive. How does one speak of joy amid such ubiquitous injustice and suffering in the world? In this revelatory anthology, Wiman takes readers on a profound and surprising journey through some of the most underexplored terrain in contemporary life. Rather than define joy for readers, he wants them to experience it. Ranging from Emily Dickinson to Mahmoud Darwish and from Sylvia Plath to Wendell Berry, he brings together diverse and provocative works as a kind of counter to the old, modernist maxim "light writes white"--no agony, no art. His rich selections awaken us to the essential role joy plays in human life.

Most of us watch with mild concern the fast disappearing wild spaces or the recurrence of pollution - related crises such as oil spills, toxic blooms in fertilizer-enriched rivers, and the increasing violence in our own country. Joy Williams does much more than watch. With guts and passion, she sounds the alarm over the general disconnection from the natural world that our consumer culture has created. The culling of elephants, electron-probed chimpanzees, and the vanishing wetlands are just some of her subjects. Razor-sharp, controversial, scathingly opinionated, and refreshingly unafraid of conflict, Williams refuses to compromise as she lashes out at the greed of Americans and decries our own turpitude. It is not enough to mourn the passing of the natural world, Ill Nature shouts. Get out of our homes and our cars and our cubicles and do something...now.

In her first novel since the Pulitzer Prize–nominated The Quick and the Dead, the legendary writer takes us into an uncertain landscape after an environmental apocalypse, a world in which only the man-made has value, but some still wish to salvage the authentic. "She practices ... camouflage, except that instead of adapting to its environment, Williams’s imagination, by remaining true to itself, reveals new colorations in the ecology around her.” —A.O. Scott, The New York Times Book Review Khristen is a teenager who, her mother believes, was marked by greatness as a baby when she died for a moment and then came back to life. After Khristen’s failing boarding school for gifted teens closes its doors, and she finds that her mother has disappeared, she ranges across the dead landscape and washes up at a “resort” on the shores of a mysterious, putrid lake the elderly residents there call “Big Girl.” In a rotting honeycomb of rooms, these old ones plot actions to punish corporations and people they consider culpable in the destruction of the final scraps of nature’s beauty. What will Khristen and Jeffrey, the precocious ten-year-old boy she meets there, learn from this “gabby seditious lot, in the worst of health but with kamikaze hearts, an army of the aged and ill, determined to refresh, through crackpot violence, a plundered earth”? Rivetingly strange and beautiful, and delivered with Williams’s searing, deadpan wit, Harrow is their intertwined tale of paradise lost and of their reasons—against all reasonableness—to try and recover something of it.