A chance discovery inside a vintage typewriter case reveals the gripping story of two sisters on opposite sides of World War II in this captivating novel for readers of Lilac Girls and The Women in the Castle. “Spins a captivating tale of two young English women—sisters caught on two opposing sides of the war.”—Associated Press New York, present day: On a whim, Juno Lambert buys a 1931 Underwood typewriter that once belonged to celebrated journalist Cordelia Capel. Within its case she discovers an unfinished novel, igniting a transatlantic journey to fill the gaps in the story of Cordelia and her sister and the secret that lies between them. Europe, 1936: Cordelia’s socialite sister Irene marries a German industrialist who whisks her away to Berlin. Cordelia, feistier and more intellectual than Irene, gets a job at a newspaper in Paris, pursuing the journalism career she cherishes. As politics begin to boil in Europe, the sisters exchange letters and Cordelia discovers that Irene’s husband is a Nazi sympathizer. With increasing desperation, Cordelia writes to her beloved sister, but as life in Nazi Germany darkens, Irene no longer dares admit what her existence is truly like. Knowing that their letters cannot tell the whole story, Cordelia decides to fill in the blanks by sitting down with her Underwood and writing the truth. When Juno reads the unfinished novel, she resolves to uncover the secret that continued to divide the sisters amid the turmoil of love, espionage, and war. In this vivid portrait of Nazi Berlin, from its high society to its devastating fall, Jane Thynne examines the truths we sometimes dare not tell ourselves. Advance praise for The Words I Never Wrote “In sumptuous prose, Jane Thynne limns the lives of two sisters ripped apart by the moral choices they made in a time of war. Dramatic, fast-paced, and emotional, The Words I Never Wrote puts the interior details of women’s lives in stark relief against the dramatic backdrop of Europe in World War II, helping readers understand the difficult choices that women made.”—Elizabeth Letts, #1 New York Times bestselling author of The Perfect Horse “Haunting, taut, and compelling, this portrait of two upper-class British sisters divided by World War II is a kaleidoscopic story of love and betrayal whose characters are never quite what they seem. It will capture your attention immediately and keep you thinking for a long time to come.”—Lynne Olson, author of Madame Fourcade’s Secret War

This book considers how a combination of place-based writing and location responsive technologies produce new kinds of literary experiences. Building on the work done in the Ambient Literature Project (2016–2018), this books argues that these encounters constitute new literary forms, in which the authored text lies at the heart of an embodied and mediated experience. The visual, sonic, social and historic resources of place become the elements of a live and emergent mise-en-scène. Specific techniques of narration, including hallucination, memory, history, place based writing, and drama, as well as reworking of traditional storytelling forms combine with the work of app and user experience design, interaction, software authoring, and GIS (geographical information systems) to produce ambient experiences where the user reads a textual and sonic literary space. These experiences are temporary, ambiguous, and unpredictable in their meaning but unlike the theatre, the gallery, or the cinema they take place in the everyday shared world. The book explores the potentiality of a new literary form produced by the exchange between location-aware cultural objects, writers and readers. This book, and the work it explores, lays the ground for a new poetics of situated writing and reading practices.

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

I Wrote This For You: Just The Words presents twice the number of entries with over 400 works from the internationally acclaimed poetry and photography project; including several new and never before seen poems. While focusing on the words from the project, new photography launches each section which speaks to the reader's journey through the world: Love Found, Being In Love, Love Lost, Hope, Despair, Living and Dying.

The inspiring, unlikely, laugh-out-loud story of how one woman learned to lead–and how she ultimately succeeded, not despite her many mistakes, but because of them. This is the story of how Kristen Hadeed built Student Maid, a cleaning company where people are happy, loyal, productive, and empowered, even while they’re mopping floors and scrubbing toilets. It’s the story of how she went from being an almost comically inept leader to a sought-after CEO who teaches others how to lead. Hadeed unintentionally launched Student Maid while attending college ten years ago. Since then, Student Maid has employed hundreds of students and is widely recognized for its industry-leading retention rate and its culture of trust and accountability. But Kristen and her company were no overnight sensa­tion. In fact, they were almost nothing at all. Along the way, Kristen got it wrong almost as often as she got it right. Giving out hugs instead of feed­back, fixing errors instead of enforcing accountability, and hosting parties instead of cultivating meaning­ful relationships were just a few of her many mistakes. But Kristen’s willingness to admit and learn from those mistakes helped her give her people the chance to learn from their own screwups too. Permission to Screw Up dismisses the idea that leaders and orga­nizations should try to be perfect. It encourages people of all ages to go for it and learn to lead by acting, rather than waiting or thinking. Through a brutally honest and often hilarious account of her own strug­gles, Kristen encourages us to embrace our failures and proves that we’ll be better leaders when we do.

"Fulghum ... shares with readers the words and wisdom of others that have guided and inspired him throughout his life and on which he drew when writing his international bestsellers."--Jacket.

"Born the child of a poor farmer in Missouri, William Stoner is urged by his parents to study new agriculture techniques at the state university. Digging instead into the texts of Milton and Shakespeare, Stoner falls under the spell of the unexpected pleasures of English literature, and decides to make it his life. Stoner is the story of that life"--