Ella love-love-loves her brand-new umbrella. It's sky blue with white clouds, and it makes the most satisfying whoosh-click sound. Rain or shine, Ella insists on taking it with her everywhere. Unfortunately, a whoosh-clicking umbrella can cause serious trouble . . . especially at a ballet recital. It's a good thing Ella's a problem solver, because she's going to need to be creative to get what she wants.

NOW A MAJOR MOTION PICTURE, STARRING JASON SEGAL AND JESSE EISENBERG, DIRECTED BY JAMES PONSOLDT An indelible portrait of David Foster Wallace, by turns funny and inspiring, based on a five-day trip with award-winning writer David Lipsky during Wallace’s Infinite Jest tour In David Lipsky’s view, David Foster Wallace was the best young writer in America. Wallace’s pieces for Harper’s magazine in the ’90s were, according to Lipsky, “like hearing for the first time the brain voice of everybody I knew: Here was how we all talked, experienced, thought. It was like smelling the damp in the air, seeing the first flash from a storm a mile away. You knew something gigantic was coming.” Then Rolling Stone sent Lipsky to join Wallace on the last leg of his book tour for Infinite Jest, the novel that made him internationally famous. They lose to each other at chess. They get iced-in at an airport. They dash to Chicago to catch a make-up flight. They endure a terrible reader’s escort in Minneapolis. Wallace does a reading, a signing, an NPR appearance. Wallace gives in and imbibes titanic amounts of hotel television (what he calls an “orgy of spectation”). They fly back to Illinois, drive home, walk Wallace’s dogs. Amid these everyday events, Wallace tells Lipsky remarkable things—everything he can about his life, how he feels, what he thinks, what terrifies and fascinates and confounds him—in the writing voice Lipsky had come to love. Lipsky took notes, stopped envying him, and came to feel about him—that grateful, awake feeling—the same way he felt about Infinite Jest. Then Lipsky heads to the airport, and Wallace goes to a dance at a Baptist church. A biography in five days, Although Of Course You End Up Becoming Yourself is David Foster Wallace as few experienced this great American writer. Told in his own words, here is Wallace’s own story, and his astonishing, humane, alert way of looking at the world; here are stories of being a young writer—of being young generally—trying to knit together your ideas of who you should be and who other people expect you to be, and of being young in March of 1996. And of what it was like to be with and—as he tells it—what it was like to become David Foster Wallace. "If you can think of times in your life that you’ve treated people with extraordinary decency and love, and pure uninterested concern, just because they were valuable as human beings. The ability to do that with ourselves. To treat ourselves the way we would treat a really good, precious friend. Or a tiny child of ours that we absolutely loved more than life itself. And I think it’s probably possible to achieve that. I think part of the job we’re here for is to learn how to do it. I know that sounds a little pious." —David Foster Wallace

In 1973, at the age of twenty-three, Jim Carroll burst upon the poetry scene with his first collection, Living at the Movies, a book of vivid and inventive verse that won him comparisons to everyone from Arthur Rimbaud to Frank O'Hara. Carroll's first new book of poetry in more than a decade, Void of Course presents work composed over the last two years. His major themes--love, friendship, desire, time and memory, and, above all, the ever-present city--emerge in an atmosphere where dream and reality mingle on equal terms. These seventy-seven poems range from graphic, sensuous shorter pieces to edgy stream-of-consciousness prose poems to longer, more contemplative works such as "While She's Gone," an eerie tour de force of longing over a departed lover. Void of Course establishes that Carroll's power and purity of vision are stronger than ever.

Blood. It's everywhere. Rocks, fist-sized and larger, scatter the area: many are bloody. There's a body: a man's. He's on his back. His head is a mess. A woman leans over him. She feels his neck. Her shoulders are heaving; she's sobbing. Several men are standing around, milling aimlessly; they don't know what to do. It is reported in the British press as a tragic accident in Angola. This story suits the majority of those present, until Sophie Addison turns up. What is her interest and why has it taken thirty years for anyone to question what happened? But one thing is clear to all who meet Sophie, and that is who she is. She cannot be ignored. How and why did James Lodge die on that dusty mine road thirty years ago? These questions had either been forgotten or buried by all those involved.

What was supposed to be a carefree afternoon of go-cart racing and putt-putt golfing quickly turns sour when Braden shouts and pouts about the rules. (Turns out, he’s too short to drive a go-cart.) Hearing his parents say the rules are the rules only makes him madder. “They haven’t been kids in like 100 years or something!” he fumes. Will Braden ever learn to keep his cool in the face of disappointment? Follow Braden’s story as he learn about the perils of overreacting and losing self-control.

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