Some people need to run away to find themselves. Some need to come home
Kyran Pittman did both, landing in the last place she ever expected: inside the white picket fence at the center of an all-American family. A self-described wild child, Pittman grew up in a loving yet chaotic household on the “near-mythical island” of Newfoundland, off Canada’s rugged east coast.
Unmoored by “the catastrophe of falling in love with an American,” she embarked on a new life as an unlikely pilgrim to the suburban heartland–a journey that began in exile and ends in homecoming.
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As she approached her fiftieth birthday, Tracey Jackson found herself bombarded—at the gym, at parties, in conversations with friends—by a catchphrase on everyone’s lips. “Fifty is the new thirty” and the endless magazine articles, photos, and T-shirts proclaiming the new aphorism had apparently bloomed out of a collective sense of denial, masking the true fears of a generation unwilling to relinquish their youth.
With a comedy writer’s training and a screenwriter’s eye for detail, Jackson skewers the myth in Between a Rock and a Hot Place, a hilarious, bare-knuckled, and ultimately practical appraisal of what middle age really means today.
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In 2008, CBS’ Chief Foreign Correspondent, Lara Logan, candidly speculated about the human side of the war in Iraq: "Tell me the last time you saw the body of a dead American soldier. What does that look like? Who in America knows what that looks like? Because I know what that looks like, and I feel responsible for the fact that no one else does…" Logan’s query raised some important yet ignored questions: How did the remains of American service men and women get from the dusty roads of Fallujah to the flag-covered coffins at Dover Air Force Base? And what does the gathering of those remains tell us about the nature of modern warfare and about ourselves?
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“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.
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What is it like to mourn today, in a culture that has largely set aside rituals that acknowledge grief? After her mother died of cancer at the age of fifty-five, Meghan O’Rourke found that nothing had prepared her for the intensity of her sorrow. She began to create a record of her interior life as a mourner, trying to capture the paradox of grief—its monumental agony and microscopic intimacies—an endeavor that ultimately bloomed into a profound look at how caring for her mother during her illness changed and strengthened their bond. With lyricism and unswerving candor, The Long Goodbye captures the fleeting moments of joy that make up a life and the way memory can lead us out of the jagged darkness of loss.
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Twenty-four-year-old Natalie Taylor was leading a charmed life. At the age of twenty four, she had a fulfilling job as a high school English teacher, a wonderful husband, a new house and a baby on the way. Then, while visiting her sister, she gets the news that Josh has died in a freak accident. Four months before the birth of her son, Natalie is leveled by loss.
What follows is an incredibly powerful emotional journey, as Natalie calls upon resources she didn’t even know she had in order to re-imagine and re-build a life for her and her son.
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