Narrative Nonfiction

Sheer pleasure. . . . Wonderfully entertaining.--Chicago Sun-Times

Acclaimed by Norman Mailer more than twenty years ago as possibly the only American writer of genius, William S. Burroughs has produced a body of work unique in our time. In these scintillating essays, he writes wittily and wisely about himself, his interests, his influences, his friends and foes. He offers candid and not always flattering assessments of such diverse writers as Ernest Hemingway, F. Scott Fitzgerald, Joseph Conrad, Graham Greene, Jack Kerouac, Allen Ginsberg, Samuel Beckett, and Marcel Proust. He ruminates on science and the often dubious paths into which it seems intent on leading us, whether into outer or inner space. He reviews his reviewers, explains his famous cut-up method, and discusses the role coincidence has played in his life and work. As satirist and parodist, William Burroughs has no peer, as these varied works, written over three decades, amply reveal.

New York Times Bestseller

The heart-stopping memoir, soon to be a major motion picture starring Shailene Woodley and Sam Claflin, and directed by Baltasar Kormákur (Everest).

"An inspirational and empowering read."--Shailene Woodley

Young and in love, their lives ahead of them, Tami Oldham and her fiancé Richard Sharp set sail from Tahiti under brilliant blue skies, with Tami's hometown of San Diego as their ultimate destination. But the two free spirits and avid sailors couldn't anticipate that less than two weeks into their voyage, they would sail directly into one of the most catastrophic hurricanes in recorded history. They found themselves battling pounding rain, waves the size of skyscrapers, and 140 knot winds. Richard tethered himself to the boat and sent Tami below to safety, and then all went eerily quiet. Hours later, Tami awakened to find the boat in ruins, and Richard nowhere in sight.

Adrift is the story of Tami's miraculous forty-one-day journey to safety on a ravaged boat with no motor and no masts, and with little hope for rescue. It's a tale of love and survival on the high seas-- an unforgettable story about resilience of the human spirit, and the transcendent power of love.

In the life of a tourist who travels a bit far, I think that at a certain point, a question necessarily arises: 'But what have I come here for?' A question that sets in motion a great cinema of justification to oneself, so that one doesn't have to seriously say to oneself: 'I'm here doing nothing.'
In 1997 the celebrated Italian novelist and essayist Gianni Celati accompanied his friend, filmmaker Jean Talon, on a journey to West Africa which took them from Mali to Senegal and Mauritania. The two had been hoping to research a documentary about Dogon priests, but frustrated by red tape, their voyage became instead a touristic adventure. The vulnerable, prickly, insightful Celati kept notebooks of the journey, now translated by Adria Bernardi as Adventures in Africa. Celati is the privileged traveler, overwhelmed by customs he doesn't understand, always at the mercy of others who are trying to sell him something he doesn't want to buy, and aware of himself as the Tourist who is always a little disoriented and at the center of the continual misadventures that are at the heart of travel.
Celati's book is both a travelogue in the European tradition and a trenchant meditation on what it means to be a tourist. Celati learns to surrender to the chaos of West Africa and in the process produces a work of touching and comic descriptions, in the lucid and ironic prose that is his hallmark. Hailed as one of the best travelogues on Africa ever written and awarded the first Zerilli-Marimó prize, Adventures in Africa is a modest yet profound account of the utter discombobulation of travel.

Brilliantly illustrated, this witty, charming story is perfect for clever girls, adults and the mischievous boys in their midst.

You should ever bear in mind that it is to your kind parents that you are indebted for your food, and for the privilege of staying home from school when you let on that you are sick. Therefore you ought to respect their little prejudices, and humor their little whims, and put up with their little foibles until they get to crowding you too much.

When Mark Twain wrote the sparky short story "Advice to Little Girls" in 1865, he probably didn't mean for it to be shown to them. Or maybe he did, since we all know Twain was a rascal. Now, author and illustrator Vladimir Radunsky has created a picture book based on Twain's text that adds all the right outlandish touches.

Born on November 30, 1835, in Florida, Missouri, Samuel L. Clemens wrote under the pen name Mark Twain. He wrote two major classics of American literature, The Adventures of Tom Sawyer and Adventures of Huckleberry Finn. He was also a riverboat pilot, journalist, lecturer, entrepreneur, and inventor. Whether or not it was Mark Twain's actual intention for little girls to read this humorous short story, it's clear that he did not talk down to children, but rather expected them to stretch themselves in order to grasp sophisticated, adult meaning.

Vladimir Radunsky has illustrated many books to great acclaim. Recently, Radunsky has been moving farther and farther away from the traditional picture book and into other more innovative forms. The most recent example is a work published by HarperCollins of hip-hop poetry for children, where the graffiti art has migrated from the walls into a printed book. Radunsky has published more than thirty books for children, mostly in the United States. Many of them were translated and published in France, the United Kingdom, Italy, Spain, the Netherlands, Germany, and Japan.

Tété-Michel Kpomassie was a teenager in Togo when he discovered a book about Greenland--and knew that he must go there. Working his way north over nearly a decade, Kpomassie finally arrived in the country of his dreams. This brilliantly observed and superbly entertaining record of his adventures among the Inuit is a testament both to the wonderful strangeness of the human species and to the surprising sympathies that bind us all.

"A" is for Australia and "A" is for Arizona, over 9,000 miles apart but sharing the same Earth. In this eccentric, intimate compendium of short environmental and personal essays, David Carlin (in Melbourne) and Nicole Walker (in Flagstaff) engage in a long-distance dialogue between two writers, creating an improvisational subversion of the encyclopedia, a witty-yet-serious send-up of the concept of a survival guide. In this era of interconnected ecological, political, and human rights catastrophes, these two whimsical, elegiac, and intellectually questing voices contemplate the role of the individual in the midst of increasingly inescapable collective action crises that call the very concept of survival into question. Refusing equally to find solace in false hopes and to give in to murky despair, Carlin and Walker deftly use the flash nonfiction form to wonder and worry their way through the alphabet in search of a path forward. With meditations on topics ranging from bitumen to plasmodia, elephants to xeric, The After-Normal: Brief, Alphabetical Essays on a Changing Planet collects an A to Z of people, places, and phenomena to marvel at, to kick against, to let go, and to fight for.

What is really going on here? For decades Renata Adler has been asking and answering this question with unmatched urgency. In her essays and long-form journalism, she has captured the cultural zeitgeist, distrusted the accepted wisdom, and written stories that would otherwise go untold. As a staff writer at The New Yorker from 1963 to 2001, Adler reported on civil rights from Selma, Alabama; on the war in Biafra, the Six-Day War, and the Vietnam War; on the Nixon impeachment inquiry and Congress; on cultural life in Cuba. She has also written about cultural matters in the United States, films (as chief film critic for The New York Times), books, politics, television, and pop music. Like many journalists, she has put herself in harm's way in order to give us the news, not the "news" we have become accustomed to--celebrity journalism, conventional wisdom, received ideas--but the actual story, an account unfettered by ideology or consensus. She has been unafraid to speak up when too many other writers have joined the pack. In this sense, Adler is one of the few independent journalists writing in America today.

This collection of Adler's nonfiction draws on Toward a Radical Middle (a selection of her earliest New Yorker pieces), A Year in the Dark (her film reviews), and Canaries in the Mineshaft (a selection of essays on politics and media), and also includes uncollected work from the past two decades. The more recent pieces are concerned with, in her words, "misrepresentation, coercion, and abuse of public process, and, to a degree, the journalist's role in it." With a brilliant literary and legal mind, Adler parses power by analyzing language: the language of courts, of journalists, of political figures, of the man on the street. In doing so, she unravels the tangled narratives that pass for the resolution of scandal and finds the threads that others miss, the ones that explain what really is going on here--from the Watergate scandal, to the "preposterous" Kenneth Starr report submitted to the House during the Clinton impeachment inquiry, to the plagiarism and fabrication scandal of the former New York Times reporter Jayson Blair. And she writes extensively about the Supreme Court and the power of its rulings, including its fateful decision in Bush v. Gore.

May 10, 1996 is the date of the most historic tragedy in Mount Everest history. Eight climbers died. Lou Kasischke was there. He lived that story. The climbing events and the forces of nature were at the extreme, especially when things went wrong. The drama near the summit was high. But the crux of the story has much in common with everyday life. This was Lou's struggle with himself 400 feet from the summit, when he faced a tough decision and conflicting internal voices about what to do. The story is an example of how and where to go for the guidance and strength needed in such moments. Lou tells the story about what happened and what went wrong. But Lou's personal story is more than about being there. It's also about his long aftermath journey to understand his experience, to find meaning in it, and to find guidance from it for his future goals and challenges. The story is both sad and triumphant.