“Alice B. Toklas wrote hers and now everybody will write theirs.” In 1933 Gertrude Stein’s The Autobiography of Alice B. Toklas skyrocketed to the top of the bestseller lists, and the author found herself a celebrity. Everybody’s Autobiography is the very Steinian account of her soul-satisfying next five years in France, England, and America, where she made a triumphant tour of the country. Here are Stein’s devastating analyses of some of the major figures of the day whom she met—among them Dashiell Hammett, Charlie Chaplin, Pablo Picasso, Marianne Moore, Mrs. Roosevelt, and Sherwood Anderson—and also of her own life and work.

In American Silence , a complement to his previous study Trickster in the Land of Dreams , Zeese Papanikolas investigates a number of significant American cultural artifacts and the lives of their makers. For Papanikolas, both the private failures and public successes of Clarence King, Henry Adams, Gertrude Stein, Ernest Hemingway, Raymond Chandler, and Hank Williams resonate with silences.

This volume offers sixteen original essays that attest to the extraordinary inventiveness and range of modernist autobiography. It examines the ways modernist writers chose to tell their life stories, with particular attention to forms, venues, modes of address, and degrees of truthfulness. The essays are grouped around a set of rubrics that isolate the distinctive character and shared preoccupations of modernist life-writings: questions of ancestry and tradition that foreground the modernists' troubled relation to their immediate familial as well as cultural past; their emergence as writers whose experiences found expression in untraditional and singular forms; their sense of themselves as survivors of personal and historical traumas; and their burdens as self-chroniclers of loss, especially of self-loss. It will appeal especially to scholars and students of literary modernism and English literature more generally.

The Autobiography of Alice B. Toklas was written in 1933 by Gertrude Stein in the guise of an autobiography authored by Alice B. Toklas, who was her lover. It is a fascinating insight into the art scene in Paris as the couple were friends with Paul Cezanne, Henri Matisse and Pablo Picasso. They begin the war years in England but return to France, volunteering for the American Fund for the French Wounded, driving around France, helping the wounded and homeless. After the war Gertrude has an argument with T. S. Eliot after he finds one of her writings inappropriate. They become friends with Sherwood Anderson and Ernest Hemingway. It was written to make money and was indeed a commercial success. However, it attracted criticism, especially from those who appeared in the book and didn't like the way they were depicted.

For the first time, music legend and humanitarian activist Dionne Warwick reflects on 50 years in showbusiness and the lessons she has learned from being an artist, a mother and a global icon. From her rise to superstardom to raising millions of dollars for AIDS research, she gives readers a glimpse into her dazzling, inspiring life. 'If you think you can do it, you can do it' was the advice she got from her grandfather as a young girl - words she has never forgotten. Like her music and humanitarian work, her story is guaranteed to give hope and inspiration to people across the world.

"Astute and consistently surprising critic" (NPR) Olivia Laing investigates the body and its discontents through the great freedom movements of the twentieth century. The body is a source of pleasure and of pain, at once hopelessly vulnerable and radiant with power. In her ambitious, brilliant sixth book, Olivia Laing charts an electrifying course through the long struggle for bodily freedom, using the life of the renegade psychoanalyst Wilhelm Reich to explore gay rights and sexual liberation, feminism, and the civil rights movement. Drawing on her own experiences in protest and alternative medicine, and traveling from Weimar Berlin to the prisons of McCarthy-era America, Laing grapples with some of the most significant and complicated figures of the past century—among them Nina Simone, Christopher Isherwood, Andrea Dworkin, Sigmund Freud, Susan Sontag, and Malcolm X. Despite its many burdens, the body remains a source of power, even in an era as technologized and automated as our own. Arriving at a moment in which basic bodily rights are once again imperiled, Everybody is an investigation into the forces arranged against freedom and a celebration of how ordinary human bodies can resist oppression and reshape the world.

Can a breakup break you apart? In Self-Titled, Geoffrey Brown stares into a mirror and writes what he sees, what he thinks, what he feels. The result? A self-portrait that's at once comic and psychotic, a complex consciousness captured in crystalline prose. Memories, manias, miasmas - Brown morphs the machinery of his mind into an utterly original entity, equal parts diary, criminal confession, sex manual and mash note, as hecontemplates a breakup. The novel splits into two parts; in 'First,' our slacker hero analyzes the minutiae of the relationship, trying to understand what he did, why it went wrong, and whether she'll come back. In 'Second' he knows she's not coming back, and he gets angry, flagellating himself with a whip of wordplay and remorse. Self-Titled is a singular achievement with universal appeal: who hasn't squinted into a mirror and said, 'What the hell is happening here?' If Gertrude Stein's autobiography was Everybody's Autobiography, then Brown's self-portrait is everybody's self-portrait. Guest edited for the press by Derek McCormack.