A Pulitzer Prize–winning, #1 New York Times bestseller, Angela’s Ashes is Frank McCourt’s masterful memoir of his childhood in Ireland.
“When I look back on my childhood I wonder how I managed to survive at all. It was, of course, a miserable childhood: the happy childhood is hardly worth your while. Worse than the ordinary miserable childhood is the miserable Irish childhood, and worse yet is the miserable Irish Catholic childhood.”
So begins the luminous memoir of Frank McCourt, born in Depression-era Brooklyn to recent Irish immigrants and raised in the slums of Limerick, Ireland. Frank’s mother, Angela, has no money to feed the children since Frank’s father, Malachy, rarely works, and when he does he drinks his wages. Yet Malachy—exasperating, irresponsible, and beguiling—does nurture in Frank an appetite for the one thing he can provide: a story. Frank lives for his father’s tales of Cuchulain, who saved Ireland, and of the Angel on the Seventh Step, who brings his mother babies.
Perhaps it is story that accounts for Frank’s survival. Wearing rags for diapers, begging a pig’s head for Christmas dinner and gathering coal from the roadside to light a fire, Frank endures poverty, near-starvation and the casual cruelty of relatives and neighbors—yet lives to tell his tale with eloquence, exuberance, and remarkable forgiveness.
Angela’s Ashes, imbued on every page with Frank McCourt’s astounding humor and compassion, is a glorious book that bears all the marks of a classic.
NEW YORK TIMES BESTSELLER
GOODREADS CHOICE AWARD WINNER FOR BEST MEMOIR/AUTOBIOGRAPHY
FORBES TOP 5 BREAKTHROUGH BOOK OF 2015
In this intimate memoir of life beyond the camera, Connor Franta shares the lessons he has learned on his journey from small-town boy to Internet sensation—so far. Here, Connor offers a look at his Midwestern upbringing as one of four children in the home and one of five in the classroom; his struggles with identity, body image, and sexuality in his teen years; and his decision to finally pursue his creative and artistic passions in his early twenties, setting up his thrilling career as a YouTube personality, philanthropist, entrepreneur, and tastemaker.
Exploring his past with insight and humor, his present with humility, and his future with hope, Connor reveals his private struggles while providing heartfelt words of wisdom for young adults. His words will resonate with anyone coming of age in the digital era, but at the core is a timeless message for people of all ages: don’t be afraid to be yourself and to go after what you truly want.
This full-color collection includes photography and childhood clippings provided by Connor and is a must-have for anyone inspired by his journey.
THE STORY OF A GREAT AMERICAN BUILDER
At the peak of his power, in the 1940s and 1950s, William Francis Gibbs was considered America’s best naval architect.
His quest to build the finest, fastest, most beautiful ocean liner of his time, the S.S. United States, was a topic of national fascination. When completed in 1952, the ship was hailed as a technological masterpiece at a time when “made in America” meant the best.
Gibbs was an American original, on par with John Roebling of the Brooklyn Bridge and Frank Lloyd Wright of Fallingwater. Forced to drop out of Harvard following his family’s sudden financial ruin, he overcame debilitating shyness and lack of formal training to become the visionary creator of some of the finest ships in history. He spent forty years dreaming of the ship that became the S.S. United States.
William Francis Gibbs was driven, relentless, and committed to excellence. He loved his ship, the idea of it, and the realization of it, and he devoted himself to making it the epitome of luxury travel during the triumphant post–World War II era. Biographer Steven Ujifusa brilliantly describes the way Gibbs worked and how his vision transformed an industry. A Man and His Ship is a tale of ingenuity and enterprise, a truly remarkable journey on land and sea.
Born in 1894, Facey lived the rough frontier life of a sheep farmer, survived the gore of Gallipoli, raised a family through the Depression and spent sixty years with his beloved wife, Evelyn. Despite enduring hardships we can barely imagine today, Facey always saw his life as a ‘fortunate’ one.
A true classic of Australian literature, his simply written autobiography is an inspiration. It is the story of a life lived to the full – the extraordinary journey of an ordinary man.
Over 800,000 copies sold
Now in it’s 97th reprint
Published posthumously in 1964, A Moveable Feast remains one of Ernest Hemingway’s most beloved works. Since Hemingway’s personal papers were released in 1979, scholars have examined and debated the changes made to the text before publication. Now this new special restored edition presents the original manuscript as the author prepared it to be published.
Featuring a personal foreword by Patrick Hemingway, Ernest’s sole surviving son, and an introduction by the editor and grandson of the author, Seán Hemingway, this new edition also includes a number of unfinished, never-before-published Paris sketches revealing experiences that Hemingway had with his son Jack and his first wife, Hadley. Also included are irreverent portraits of other luminaries, such as F. Scott Fitzgerald and Ford Madox Ford, and insightful recollections of his own early experiments with his craft.
Sure to excite critics and readers alike, the restored edition of A Moveable Feast brilliantly evokes the exuberant mood of Paris after World War I and the unbridled creativity and unquenchable enthusiasm that Hemingway himself epitomized.
“I always thought that [building] bridges is the best job there is because roads go over bridges, and without roads we’d still be like savages. In short, bridges are like the opposite of borders, and borders are where wars start.” –Primo Levi, ‘La chiave a stella’ (The Wrench)
Primo Levi (1919-1987) was one of Italy’s most distinguished writers. A survivor of the Holocaust, his memoirs on the Nazi death camps (If This Is a Man and The Truce) are internationally recognised as among the most powerful and profound testimonies to have come out of the extermination of the European Jewry.
This book is the first comprehensive introduction to Levi and his writing for English-speaking readers. The author draws attention to the literary worth of Levi’s entire output — not just the Holocaust testimonies for which he is primarily known — and situates his works in the context of Italian culture and society from the 1920s to the 1980s. A man with many identities — chemist, industrial manager and writer — he tried, through his writing, to build bridges between different cultures and fields of enquiry.
General readers who are acquainted with Levi’s writings will find this book fascinating, as will students and scholars of Holocaust Literature, Italian Studies and Contemporary Italian Literature.
With the publication of Salman Rushdie’s Booker Prize winning novel, DEGREESIMidnight’s Children DEGREESR in 1981, followed by the unprecedented popularity of his subsequent works, the cinematic adaptation of Michael Ondaatje’s DEGREESIThe English Patient, DEGREESR many other best-sellers written by South Asian novelists writing in English have gained a tremendous following. This reference is a guide to their lives and writings. The volume focuses on novelists born in South Asia who have written and continue to write about issues concerning that region. Some of the novelists have published widely, while others are only beginning their literary careers.
The volume includes alphabetically arranged entries on more than 50 South Asian novelists. Each entry is written by an expert contributor and includes a biography, a discussion of major works and themes, a summary of the novelist’s critical reception, and primary and secondary bibliographies. Since many of the contributors are personally acquainted with the novelists, they are able to offer significant insights. The volume closes with a selected bibliography of studies of the South Asian novel in English, along with a list of anthologies and periodicals.
This dissertation is an attempt to define a Chinese “modernism,” exemplified by the narrative practices of four major writers in Taiwan today, from the perspective of comparative literature and recent development of literary theory. I propose that modernity of Taiwanese fiction is not so much a result of Western influences as an evolution of Chinese narrative tradition itself. To argue my point I delineate a poetics of Chinese narrative, from which I devise a method of reading and a criterion of evaluation for contemporary Taiwanese fiction in defining its achievement and historical significance. This study of Taiwanese fiction also aims at providing a better understanding of fundamental aesthetic assumptions of Western “modernism” in the context of its own literary tradition. Chapter One, “Introduction,” investigates the theoretical foundation and its line of development in Western and Chinese poetics respectively. It first examines the Platonic view of mimesis and Aristotelian aesthetic view of fictionality and their influence on the critical tradition, the continuity of the ancient battle between philosophy and poetry as seen in the structuralist and deconstructionist theories, then the relationship between subjective fictionality and ironic objectivity in Chinese poetics, the continuity of the dilemma in the Chinese novelists in their dual allegiance to the ideal and the real. A final section gives a critical overview of the literary scene in Taiwan. The following four chapters provide examples of the internal tension between fictionality and ironic awareness in the Taiwanese modernist texts. I suggest that instead of stretching the metaphorical potential of fiction to a highly intellectualized abstraction or playing down the interpretive claims of fiction by dramatizing its vulnerability like their Western counterpart, the Taiwanese modernists create their texts on the borderline between the high and the low. Self-assertive as well as self-denying, each of them confronts his own intellectual vision with paradox and ambivalence. In Ch’en Ying-chen, this is expressed as a battle between a lyrical vision of ideological values and an instinctive self-clowning, in Ch’i-teng Sheng, as a form of competition between pattern and contingency, in Wang Chen-ho, as a celebration and abuse of the fictionality of fiction, and in Wang Wen-hsing, an intense self-parody. I conclude that the sensitivity to the irrational and contradiction, inherent with a resistance to didacticism, constitutes the best part of the Chinese humanistic tradition, which is continuously enriched with new dimensions by the contemporary Taiwanese writers.