Wall Street Journal and USA Bestseller How to Connect with What’s Most Important in a Hyperconnected World Social media has the power to do a lot of good, but it can also get in the way of authenticity and create a sense of disillusionment. In Overliked, pastor and author Rob Singleton asks readers to take a closer look at the optics in their lives and in the world around them. This is a book about understanding how to see “likes” and “selfie” culture for what they really are and how to connect with the heart of God to build out a new way of thinking about social image. We have technology and social tools all at our disposal, but when we recognize that so many in our culture now look for acceptance in how they’re perceived, feel pressure to project something about themselves that isn’t true, or take action based on facts that have been spun, that’s a problem that runs deep. Singleton shows readers how to find their way through the complexities by pointing them to God, who created truth, genuine love, and meaningful relationships. Written for those who believe—for this generation and the next—that they need to get a better handle on what’s real in this culture and in the lives of those they care about, this book brings authenticity and hope to the center of it all. Singleton offers powerful insights into how we can better leverage the information in the world around us without losing who we are. When we begin to see the real us behind the avatars, we gain the clarity we need to live better, love bigger, and become who we were always meant to be.

A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013