What was it like to live through the Sixties? The writers of these 27 memoirs offer the essence of life and youth in the period. In first-person narratives that range from poignant reminiscences to dramatic adventures, the writers convey what it felt like to land a helicopter in the middle of a firefight in Vietnam, to be beaten and jailed for trying to integrate restaurants in the American South, to run for cover when soldiers opened fire on a campus peace rally in Ohio. Other stories describe the writers' experiences organizing farm workers with Cesar Chavez, campaigning to elect Barry Goldwater, striking for Free Speech at Berkeley, living in a commune, joining the women's liberation movement, becoming caught up in a religious cult, or camping in the rain at Woodstock.

In this series of intricately related texts, internationally known poet, critic, and performance artist David Antin explores the experience of time—how it's felt, remembered, and recounted. These free-form talk pieces—sometimes called talk poems or simply talks—began as improvisations at museums, universities, and poetry centers where Antin was invited to come and think out loud. Serious and playful, they move rapidly from keen analysis to powerful storytelling to passages of pure comedy, as they range kaleidoscopically across Antin's experiences: in the New York City of his childhood and youth, the Eastern Europe of family and friends, and the New York and Southern California of his art and literary career. The author's analysis and abrasive comedy have been described as a mix of Lenny Bruce and Ludwig Wittgenstein, his commitment to verbal invention and narrative as a fusion of Mark Twain and Gertrude Stein. Taken together, these pieces provide a rich oral history of and critical context for the evolution of the California art scene from the 1960s onward.

2017 Batchelder Honor Book and ALA Notable Book Once upon a time there was a ship that sailed beside the sun with very important people on board. The spirit of reinvention – and the importance we place on things – is beautifully expressed in José Sanabria’s visually evocative story. A steamship makes a journey across time from luxury and exclusivity, industry and abandonment, to stewardship and inclusion as we see the evolving functions of the ship and the changing faces of the people who cherish it most of all.

Ian McDonald weaves a love story across an endless expanse with his science fiction novella Time Was A love story stitched across time and war, shaped by the power of books, and ultimately destroyed by it. In the heart of World War II, Tom and Ben became lovers. Brought together by a secret project designed to hide British targets from German radar, the two founded a love that could not be revealed. When the project went wrong, Tom and Ben vanished into nothingness, presumed dead. Their bodies were never found. Now the two are lost in time, hunting each other across decades, leaving clues in books of poetry and trying to make their desperate timelines overlap. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

1601 was written during the summer of 1876 when the Clemens family had retreated to Quarry Farm in Elmira County, New York. Here Mrs. Clemens enjoyed relief from social obligations, the children romped over the countryside, and Mark retired to his octagonal study, which, perched high on the hill, looked out upon the valley below. It was in the famous summer of 1876, too, that Mark was putting the finishing touches to Tom Sawyer. Before the close of the same year he had already begun work on ‘The Adventures of Huckleberry Finn’, published in 1885. It is interesting to note the use of the title, the “Duke of Bilgewater,” in Huck Finn when the “Duchess of Bilgewater” had already made her appearance in 1601. Sandwiched between his two great masterpieces, Tom Sawyer and Huck Finn, the writing of 1601 was indeed a strange interlude. During this prolific period Mark wrote many minor items, most of them rejected by Howells, and read extensively in one of his favorite books, Pepys’ Diary. Like many another writer Mark was captivated by Pepys’ style and spirit, and “he determined,” says Albert Bigelow Paine in his ‘Mark Twain, A Biography’, “to try his hand on an imaginary record of conversation and court manners of a bygone day, written in the phrase of the period. The result was ‘Fireside Conversation in the Time of Queen Elizabeth’, or as he later called it, ‘1601’. The ‘conversation’ recorded by a supposed Pepys of that period, was written with all the outspoken coarseness and nakedness of that rank day, when fireside sociabilities were limited only to the loosened fancy, vocabulary, and physical performance, and not by any bounds of convention.”

In his mind, then, small cracks opened, from which ancient images emerged, perhaps lost in the mass grave of those fragments of mem ories thrown there, randomly and confused with others, buried in the cemetery of lost memories. As it happens when a ray of sunshine penetrates from the dormer window, to break through the walls of the darkness of a dusty attic, so the darkness of that mass grave was pierced by the dazzling reflection of a glow of memory, which raised the dust of seconds, minutes, hours, days, months and years past, that eternity had deposited there. ?Perhaps it is these ? he thought ? that appear in those strange dreams without meaning, where it happens that the door of the mass grave of those confused fragments opens and come out like the gusts of the winds of Aeolus, enclosed in the wineskin....