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Hall, ARISTOTLE'S WAY is an examination of one of history's greatest philosophers, showing us how to lead happy, fulfilled, and meaningful livesAristotle was the first philosopher to inquire into subjective happiness, and he understood its essence better and more clearly than anyone since. According to Aristotle, happiness is not about well-being, but instead a lasting state of contentment, which should be the ultimate goal of human life. We become happy through finding a purpose, realizing our potential, and modifying our behavior to become the best version of ourselves. With these objectives in mind, Aristotle developed a humane program for becoming a happy person, which has stood the test of time, comprising much of what today we associate with the good life: meaning, creativity, and positivity. Most importantly, Aristotle understood happiness as available to the vast majority us, but only, crucially, if we decide to apply ourselves to its creationand he led by example. As Hall writes, \"If you believe that the goal of human life is to maximize happiness, then you are a budding Aristotelian.\"In expert yet vibrant modern language, Hall lays out the crux of Aristotle's thinking, mixing affecting autobiographical anecdotes with a deep wealth of classical learning. For Hall, whose own life has been greatly improved by her understanding of Aristotle, this is an intensely personal subject. She distills his ancient wisdom into ten practical and universal lessons to help us confront life's difficult and crucial moments, summarizing a lifetime of the most rarefied and brilliant scholarship.","descriptionHtml","From renowned classicist Edith Hall, ARISTOTLE'S WAY is an examination of one of history's greatest philosophers, showing us how to lead happy, fulfilled, and meaningful lives

Aristotle was the first philosopher to inquire into subjective happiness, and he understood its essence better and more clearly than anyone since. According to Aristotle, happiness is not about well-being, but instead a lasting state of contentment, which should be the ultimate goal of human life. We become happy through finding a purpose, realizing our potential, and modifying our behavior to become the best version of ourselves. With these objectives in mind, Aristotle developed a humane program for becoming a happy person, which has stood the test of time, comprising much of what today we associate with the good life: meaning, creativity, and positivity. Most importantly, Aristotle understood happiness as available to the vast majority us, but only, crucially, if we decide to apply ourselves to its creationand he led by example. As Hall writes, \"If you believe that the goal of human life is to maximize happiness, then you are a budding Aristotelian.\"

In expert yet vibrant modern language, Hall lays out the crux of Aristotle's thinking, mixing affecting autobiographical anecdotes with a deep wealth of classical learning. For Hall, whose own life has been greatly improved by her understanding of Aristotle, this is an intensely personal subject. She distills his ancient wisdom into ten practical and universal lessons to help us confront life's difficult and crucial moments, summarizing a lifetime of the most rarefied and brilliant scholarship.","featuredImage",{"_41":1965,"_54":1966,"_56":1967,"_50":1968,"_1969":-5},"gid://shopify/ProductImage/47597344620785","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9780735220829_p0.jpg?v=1765183313",1315,2000,"altText","priceRange",{"_1972":1973},"minVariantPrice",{"_1974":1975,"_1976":1977},"amount","18.0","currencyCode","USD","availableForSale","compareAtPriceRange",{"_1972":1981,"_1983":1984},{"_1974":1982,"_1976":1977},"0.0","maxVariantPrice",{"_1974":1982,"_1976":1977},"variants",{"_1987":1988},"nodes",[1989],{"_41":1990,"_1978":59,"_1991":-5,"_708":1992,"_1993":1994,"_1995":1996,"_1997":1998,"_2003":1959,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46279620591857","compareAtPrice",{"_41":1965,"_54":1966,"_1969":-5,"_56":1967,"_50":1968},"price",{"_1974":1975,"_1976":1977},"product",{"_71":1956,"_825":1959},"selectedOptions",[1999],{"_797":2000,"_2001":2002},"Title","value","Default Title","sku","unitPrice","ean",{"_2001":1959},"metafields",[2009,-5,-5,2016,2019,-5,2022,2026,2030,2034,2038,-5,-5,2042,-5,-5,-5],{"_41":2010,"_2011":2012,"_2013":2014,"_2001":2015},"gid://shopify/Metafield/41198434222321","namespace","bnb","key","keyContributor","[{\"contributorId\":436492,\"fullName\":\"Edith Hall\",\"jobName\":\"Author\",\"sequenceNumber\":1}]",{"_41":2017,"_2011":2012,"_2013":2018,"_2001":1958},"gid://shopify/Metafield/41198434844913","parentSecondaryFormat",{"_41":2020,"_2011":2012,"_2013":2021,"_2001":1958},"gid://shopify/Metafield/41198433599729","parentFormat",{"_41":2023,"_2011":2012,"_2013":2024,"_2001":2025},"gid://shopify/Metafield/41198435008753","formatId","121",{"_41":2027,"_2011":2012,"_2013":2028,"_2001":2029},"gid://shopify/Metafield/41198436942065","commentary","[{\"id\":\"75708551T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"1\",\"text\":\"Chapter 1

Happiness

At the beginning of Eudemian Ethics, Aristotle quotes a line of wisdom literature inscribed on an ancient stone on the sacred island of Delos. It proclaimed that the three best things in life are \\\"Justice, Health, and Achieving One's Desires.\\\" Aristotle trenchantly disagrees. According to him, the ultimate goal of human life is, simply, happiness, which means finding a purpose in order to realize your potential and working on your behavior to become the best version of yourself. You are your own moral agent, but act in an interconnected world where partnerships with other people are of great significance.

Aristotle's own teacher was Plato, himself the disciple of Socrates who famously said \\\"the unexamined life is not worth living.\\\" Aristotle regarded this is as somewhat harsh. He knew that many people-perhaps the majority-live intuitively and often unreflectively, but they enjoy great happiness, on \\\"autopilot\\\" as it were. He would have shifted the emphasis to practical activity and to the future, and his alternative motto might have been: \\\"the unplanned life is unlikely to be fully happy.\\\"

Aristotelian ethics put the individual in charge. As Abraham Lincoln saw, \\\"Most folks are about as happy as they make up their minds to be.\\\" Rather than working on autopilot, Aristotelian ethics put you as sole pilot at the full control panel. Other ethical systems place far less emphasis either on your individual moral agency or on your responsibilities toward others. Aristotelian ethics share the starting point of the moral agent with ethical egoism, associated with the early modern philosopher Bernard Mandeville (1670-1733), but nothing else. This system recommends that every individual consciously act so as to maximize their own self-interest. Imagine you are hosting a tea party for ten of your neighbors. You know that two are vegans. But vegan sandwiches are three times as expensive as ham sandwiches. If you buy two servings of vegan sandwiches, there will be less food all round for everybody. The egoist would ignore everyone else's needs and choose whether to cater for the vegans depending on her own personal eating habits. If she were not a vegan, then she would certainly not want her helping of ham sandwiches diminished by having to cater for anyone else's different preference. If she were a vegan, then she would ignore the deprivation suffered by all eight carnivores receiving smaller helpings and simply ensure that there was plenty of vegan food available for herself, and order a private extra serving.

Utilitarians, on the other hand, seek to maximize the happiness of the greatest number, thus focusing on consequences of actions: for utilitarians, a result involving eight happy carnivores completely trumps the accompanying problem of two miserable vegans. Utilitarianism gets difficult when the minorities are very large: a tea party with, say, four miserable vegans and only six happy carnivores would begin to feel decidedly unfestive. Followers of Immanuel Kant emphasize duties and obligations, asking whether there should be a universal and fixed law about the proportion of different kinds of sandwiches available at tea parties. Cultural relativists, on the other hand, have insisted that there is no such thing as a universal moral law. Everyone, they say, belongs to a group or groups which do have their own internal laws and customs. Across the planet, there are many cultures and communities which eat no pig products at all; there are others which cannot comprehend vegetarianism or even tea parties.

Aristotle would instead realize that the decision about the sandwiches could not be made abstractly in a vacuum. He would set aside time to think about the problem and make plans. He would look behind catering plans to make his intention conscious-if it is to make all ten neighbors feel welcomed and well fed, because that would make the whole community nicer for everyone to live in, conducing to individual and collective happiness, then his decision would need to maximize the possibility of that intention being fulfilled. There would be little point in offending even a minority of the guests. He would then consult interested persons, including the invitees and the caterers, to test the water on possible reactions. He would think about previous parties he had held or experienced, review precedents and very likely discover a way round the whole problem from looking at the history of tea parties-serving non-dairy cakes which everyone liked, for example, rather than the divisive sandwiches. He would also make sure that he personally enjoyed the types of cake he then chose, because unnecessary self-denial has no place in his philosophy of respect toward self and others.

Aristotle's ethical system is versatile, flexible and practical to implement in daily life. Most of the real-world psychological steps toward increasing contentment outlined by psychologist Sonja Lyubomirsky in The How of Happiness: A Practical Guide to Getting the Life You Want (2007) bear a startling resemblance to Aristotle's philosophical recommendations, and she indeed cites him with approval. His leitmotifs are working with the situation you find at hand, forethought, an unrelenting focus on intentions, flexibility, practical common sense, individual autonomy and the importance of consultation with others. The basic premise of Aristotle's notion of happiness is wonderfully simple and democratic: everyone can decide to be happy. After a certain amount of time, acting rightly becomes ingrained as a habit, so you feel good about yourself, and the resulting state of mind is one of eudaimonia, Aristotle's word for happiness.

This Aristotelian pursuit of eudaimonia is often attractive to agnostics and atheists, but is in fact compatible with any religion which emphasizes the individual's moral responsibility for their own actions and does not assume that frequent guidance, reward or punishment come from any external divine being. But since Aristotle himself did not believe that god interfered in the world or was interested in it in any way, his program for achieving happiness was a system in itself. The Aristotelian will not expect to find rules about tea parties in any sacred text. But she will not expect to be hit by god-sent retribution if her tea party goes badly wrong, either. Living in a competent and planned manner is something you elect to do to control your life and destiny. Since this control is traditionally assigned to a god or the gods, there is a sense in which it can make you \\\"godlike.\\\"

Eudaimonia, however, is not so simple to explain. The eu- prefix (pronounced like \\\"you\\\") means \\\"well\\\" or \\\"good\\\"; the daimonia element comes from a word with a whole range of meanings-divine being, divine power, guardian spirit, fortune or lot in life. So eudaimonia came to mean well-being or prosperity, which certainly includes contentment. But it is far more active than \\\"contentment.\\\" You \\\"do\\\" eudaimonia; it requires positive input. In fact, for Aristotle, happiness is activity (praxis). He points out that if it were an emotional disposition which some people are either born with or not, then it could be possessed by a man who spent his life asleep, \\\"living the life of a vegetable.\\\"

Aristotle's definition of happiness is not constituted by material prosperity of any kind either. A century earlier, another northern Greek thinker, Democritus, whom Aristotle admired, had talked about \\\"happiness of the soul,\\\" and had insisted that it definitely did not derive from the possession of livestock or gold. When Aristotle uses the word eudaimonia, he likewise means \\\"happiness of the soul,\\\" as experienced in the consciousness of the sentient human. According to him, life itself consists of having an active mind. Aristotle was convinced that most people get most of their pleasure from learning things and wondering about and at the world. Indeed, he regarded the attainment of an understanding of the world-not just academic knowledge, but understanding of any aspect of experience-as the actual goal of life itself.

If you believe that the goal of human life is to maximize happiness, then you are a budding Aristotelian. If the goal of human life is happiness, the way to achieve it is by thinking hard about how to Live Well, or being alive in the best way possible. This requires self-conscious habit, which Aristotle does not think other animals are capable of. The deceptively simple adverb \\\"well\\\" can mean \\\"competently\\\" in a practical sense, \\\"morally\\\" in terms of being kind, and \\\"fortunately\\\" or \\\"with felicity\\\" in terms of enjoying happiness and pleasant circumstances.

On 4 July 1776, the brand new United States Congress ratified the text of the Declaration of Independence drawn up by Thomas Jefferson. Its epoch-making first sentence reads: \\\"We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.\\\" It is well known that the ancient Roman Republic was a model for the Founding Fathers of America, but that telling phrase \\\"the pursuit of Happiness\\\" shows that Jefferson was immersed in the philosophy of Aristotle as well. Four years later the constitution of Massachusetts (1780) followed suit: government is instituted for the common good, \\\"for the protection, safety, prosperity, and happiness of the people.\\\"

Aristotle believed that the way we educate future citizens is crucial to whether they can fulfill their potential both as individuals and in communities. The 1787 Northwest Ordinance could not have sounded more Aristotelian when it stated that schools were necessary to \\\"good government and the happiness of mankind.\\\" Everyone in the world who lives in broad agreement with the principles that were espoused in the bright new dawn of American independence is, whether they know it or not, an Aristotelian committed to the project of human happiness.

The most famous statement by Aristotle-so famous that it was (inaccurately) quoted in an exchange between Pope Francis and Donald Trump in February 2016-is that man is a \\\"political animal\\\" (zoon politikon). Aristotle meant that man is distinguished from other animals by naturally tending toward gathering together to live in a large settled community, a polis, or city-state. Aristotle always arrives at definitions by making a series of distinctions, and in his Nicomachean Ethics he asks crucially: what are the distinctive features of the human being? Humans, like animals and plants, partake in the basic activity of living, obtaining nutrients and growing. If other animals and plants live, get nourishment and grow, then this is not distinctive to humanity. Animals, like humans, also have senses with which they discern the world around them and other creatures. So sentient life can't be the distinctive and definitive feature of being human, either. But no other living being shares \\\"the active life of the being that has reason.\\\" Humans do things, and are able to think before, during and after these activities. That is the human raison d'étre. If you, as a human being, don't fulfill your ability to act while exercising your rational faculties, then you are not fulfilling your potential.

Exercising your reason to Live Well means cultivating virtues and avoiding vices. Being a good person will make you happier. There is a reason why Frank Capra's feel-good fantasy It's a Wonderful Life (1946) is the most popular Christmas movie of all time: its message resonates so deeply with the generous and cooperative values most humans share. George Bailey, played by James Stewart, is a troubled philanthropic businessman, persecuted by a rapacious capitalist. He is planning suicide on Christmas Eve. A guardian angel, Clarence, arrives from heaven, and through flashbacks shows George episodes from his past life where he has unselfishly helped others; he has been a devoted family member and offered loans allowing the poor to buy their own houses. Clarence persuades George out of suicide by showing him an alternative version of history in which he had never existed, his family had been deprived of him and the poor had to live in slums. George sees that his \\\"wonderful life\\\" had connected him to other people by his efforts to support them. The movie is also Aristotelian in that it presents life as a project, a continuous arc, which is as wonderful as we choose to make it. However cheesy the film may now seem, it strikes an authentic emotional chord.

La Promesse (1996), by Belgian filmmakers Jean-Pierre and Luc Dardenne, eschews all sentimentality, showing how a young person on the brink of adulthood, and full moral agency, learns the gratification of goodness. At the beginning of the film Igor is only fifteen years old, a trainee mechanic, but he faces an extreme ethical challenge and succeeds in establishing moral independence from his unscrupulous father. The plot involves the accidental death of an illegal immigrant and Igor's father's insistence that Igor help to conceal it. Igor comes to moral maturity and a degree of serenity by assisting the bereaved family in the face of an unfeeling father, feelings of guilt, social vulnerability and fear of the law.

The emphasis on the connection between happiness and virtuous action is one of the fundamental differences between Aristotle's recipe for happiness and that of the other philosophies such as egoism, utilitarianism and Kantianism. In his Politics, to illustrate the difficulty of achieving happiness without trying to be a good person, Aristotle offers an extreme caricature of the vice-ridden and consequently miserable person:

Nobody would call a man ideally happy that has not got a particle of courage nor of self-control nor of decency nor sense, but is afraid of the flies that flutter by him, cannot refrain from any of the most outrageous actions in order to gratify a desire to eat or to drink, ruins his dearest friends for the sake of a penny, and also in matters of the intellect, similarly, is as senseless and mistaken as any infant or lunatic.

George Washington put the same virtue/happiness correlation differently in his 1789 inaugural speech, when he told his New York City audience that there is \\\"an indissoluble union between virtue and happiness.\\\"

Deciding to pursue happiness by Living Well means practicing \\\"virtue ethics\\\" or more simply \\\"Doing the Right Thing.\\\" Aristotle's virtues, likewise, are translated into portentous nouns like \\\"justice,\\\" which really just means treating other people fairly and decently. Virtue ethics have always attracted humanists, agnostics, atheists and skeptics precisely because they offer, to people who want to live contented, decent and constructive lives, a considered way in which to do so. Virtue ethics will help you approach decisions, morality, and the \\\"big questions\\\" about life and death, trusting in your own judgment and ability to look after yourself, your friends and your dependants. But the lack of idiomatic translations of the Greek has been one reason why Aristotle's sensible and effective program of pursuing happiness through deciding to Do the Right Thing has not become more widely understood among the general public. If people understood that personal happiness was down to their own conduct, then happiness, he wrote, would become \\\"more common because it would be possible for more people to share it.\\\" Aristotle goes so far as to say that, ideally, \\\"all humankind would be seen to be in agreement with the views that will be stated,\\\" but, failing that, they should sign up to at least part of the program entailed by virtue ethics, \\\"for everyone has something to contribute.\\\"\"},{\"id\":\"66667790T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"2\",\"text\":\"Chapter 1

Happiness

At the beginning of Eudemian Ethics, Aristotle quotes a line of wisdom literature inscribed on an ancient stone on the sacred island of Delos. It proclaimed that the three best things in life are \\\"Justice, Health, and Achieving One's Desires.\\\" Aristotle trenchantly disagrees. According to him, the ultimate goal of human life is, simply, happiness, which means finding a purpose in order to realize your potential and working on your behavior to become the best version of yourself. You are your own moral agent, but act in an interconnected world where partnerships with other people are of great significance.

Aristotle's own teacher was Plato, himself the disciple of Socrates who famously said \\\"the unexamined life is not worth living.\\\" Aristotle regarded this is as somewhat harsh. He knew that many people-perhaps the majority-live intuitively and often unreflectively, but they enjoy great happiness, on \\\"autopilot\\\" as it were. He would have shifted the emphasis to practical activity and to the future, and his alternative motto might have been: \\\"the unplanned life is unlikely to be fully happy.\\\"

Aristotelian ethics put the individual in charge. As Abraham Lincoln saw, \\\"Most folks are about as happy as they make up their minds to be.\\\" Rather than working on autopilot, Aristotelian ethics put you as sole pilot at the full control panel. Other ethical systems place far less emphasis either on your individual moral agency or on your responsibilities toward others. Aristotelian ethics share the starting point of the moral agent with ethical egoism, associated with the early modern philosopher Bernard Mandeville (1670-1733), but nothing else. This system recommends that every individual consciously act so as to maximize their own self-interest. Imagine you are hosting a tea party for ten of your neighbors. You know that two are vegans. But vegan sandwiches are three times as expensive as ham sandwiches. If you buy two servings of vegan sandwiches, there will be less food all round for everybody. The egoist would ignore everyone else's needs and choose whether to cater for the vegans depending on her own personal eating habits. If she were not a vegan, then she would certainly not want her helping of ham sandwiches diminished by having to cater for anyone else's different preference. If she were a vegan, then she would ignore the deprivation suffered by all eight carnivores receiving smaller helpings and simply ensure that there was plenty of vegan food available for herself, and order a private extra serving.

Utilitarians, on the other hand, seek to maximize the happiness of the greatest number, thus focusing on consequences of actions: for utilitarians, a result involving eight happy carnivores completely trumps the accompanying problem of two miserable vegans. Utilitarianism gets difficult when the minorities are very large: a tea party with, say, four miserable vegans and only six happy carnivores would begin to feel decidedly unfestive. Followers of Immanuel Kant emphasize duties and obligations, asking whether there should be a universal and fixed law about the proportion of different kinds of sandwiches available at tea parties. Cultural relativists, on the other hand, have insisted that there is no such thing as a universal moral law. Everyone, they say, belongs to a group or groups which do have their own internal laws and customs. Across the planet, there are many cultures and communities which eat no pig products at all; there are others which cannot comprehend vegetarianism or even tea parties.

Aristotle would instead realize that the decision about the sandwiches could not be made abstractly in a vacuum. He would set aside time to think about the problem and make plans. He would look behind catering plans to make his intention conscious-if it is to make all ten neighbors feel welcomed and well fed, because that would make the whole community nicer for everyone to live in, conducing to individual and collective happiness, then his decision would need to maximize the possibility of that intention being fulfilled. There would be little point in offending even a minority of the guests. He would then consult interested persons, including the invitees and the caterers, to test the water on possible reactions. He would think about previous parties he had held or experienced, review precedents and very likely discover a way round the whole problem from looking at the history of tea parties-serving non-dairy cakes which everyone liked, for example, rather than the divisive sandwiches. He would also make sure that he personally enjoyed the types of cake he then chose, because unnecessary self-denial has no place in his philosophy of respect toward self and others.

Aristotle's ethical system is versatile, flexible and practical to implement in daily life. Most of the real-world psychological steps toward increasing contentment outlined by psychologist Sonja Lyubomirsky in The How of Happiness: A Practical Guide to Getting the Life You Want (2007) bear a startling resemblance to Aristotle's philosophical recommendations, and she indeed cites him with approval. His leitmotifs are working with the situation you find at hand, forethought, an unrelenting focus on intentions, flexibility, practical common sense, individual autonomy and the importance of consultation with others. The basic premise of Aristotle's notion of happiness is wonderfully simple and democratic: everyone can decide to be happy. After a certain amount of time, acting rightly becomes ingrained as a habit, so you feel good about yourself, and the resulting state of mind is one of eudaimonia, Aristotle's word for happiness.

This Aristotelian pursuit of eudaimonia is often attractive to agnostics and atheists, but is in fact compatible with any religion which emphasizes the individual's moral responsibility for their own actions and does not assume that frequent guidance, reward or punishment come from any external divine being. But since Aristotle himself did not believe that god interfered in the world or was interested in it in any way, his program for achieving happiness was a system in itself. The Aristotelian will not expect to find rules about tea parties in any sacred text. But she will not expect to be hit by god-sent retribution if her tea party goes badly wrong, either. Living in a competent and planned manner is something you elect to do to control your life and destiny. Since this control is traditionally assigned to a god or the gods, there is a sense in which it can make you \\\"godlike.\\\"

Eudaimonia, however, is not so simple to explain. The eu- prefix (pronounced like \\\"you\\\") means \\\"well\\\" or \\\"good\\\"; the daimonia element comes from a word with a whole range of meanings-divine being, divine power, guardian spirit, fortune or lot in life. So eudaimonia came to mean well-being or prosperity, which certainly includes contentment. But it is far more active than \\\"contentment.\\\" You \\\"do\\\" eudaimonia; it requires positive input. In fact, for Aristotle, happiness is activity (praxis). He points out that if it were an emotional disposition which some people are either born with or not, then it could be possessed by a man who spent his life asleep, \\\"living the life of a vegetable.\\\"

Aristotle's definition of happiness is not constituted by material prosperity of any kind either. A century earlier, another northern Greek thinker, Democritus, whom Aristotle admired, had talked about \\\"happiness of the soul,\\\" and had insisted that it definitely did not derive from the possession of livestock or gold. When Aristotle uses the word eudaimonia, he likewise means \\\"happiness of the soul,\\\" as experienced in the consciousness of the sentient human. According to him, life itself consists of having an active mind. Aristotle was convinced that most people get most of their pleasure from learning things and wondering about and at the world. Indeed, he regarded the attainment of an understanding of the world-not just academic knowledge, but understanding of any aspect of experience-as the actual goal of life itself.

If you believe that the goal of human life is to maximize happiness, then you are a budding Aristotelian. If the goal of human life is happiness, the way to achieve it is by thinking hard about how to Live Well, or being alive in the best way possible. This requires self-conscious habit, which Aristotle does not think other animals are capable of. The deceptively simple adverb \\\"well\\\" can mean \\\"competently\\\" in a practical sense, \\\"morally\\\" in terms of being kind, and \\\"fortunately\\\" or \\\"with felicity\\\" in terms of enjoying happiness and pleasant circumstances.

On 4 July 1776, the brand new United States Congress ratified the text of the Declaration of Independence drawn up by Thomas Jefferson. Its epoch-making first sentence reads: \\\"We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.\\\" It is well known that the ancient Roman Republic was a model for the Founding Fathers of America, but that telling phrase \\\"the pursuit of Happiness\\\" shows that Jefferson was immersed in the philosophy of Aristotle as well. Four years later the constitution of Massachusetts (1780) followed suit: government is instituted for the common good, \\\"for the protection, safety, prosperity, and happiness of the people.\\\"

Aristotle believed that the way we educate future citizens is crucial to whether they can fulfill their potential both as individuals and in communities. The 1787 Northwest Ordinance could not have sounded more Aristotelian when it stated that schools were necessary to \\\"good government and the happiness of mankind.\\\" Everyone in the world who lives in broad agreement with the principles that were espoused in the bright new dawn of American independence is, whether they know it or not, an Aristotelian committed to the project of human happiness.

The most famous statement by Aristotle-so famous that it was (inaccurately) quoted in an exchange between Pope Francis and Donald Trump in February 2016-is that man is a \\\"political animal\\\" (zoon politikon). Aristotle meant that man is distinguished from other animals by naturally tending toward gathering together to live in a large settled community, a polis, or city-state. Aristotle always arrives at definitions by making a series of distinctions, and in his Nicomachean Ethics he asks crucially: what are the distinctive features of the human being? Humans, like animals and plants, partake in the basic activity of living, obtaining nutrients and growing. If other animals and plants live, get nourishment and grow, then this is not distinctive to humanity. Animals, like humans, also have senses with which they discern the world around them and other creatures. So sentient life can't be the distinctive and definitive feature of being human, either. But no other living being shares \\\"the active life of the being that has reason.\\\" Humans do things, and are able to think before, during and after these activities. That is the human raison d'?tre. If you, as a human being, don't fulfill your ability to act while exercising your rational faculties, then you are not fulfilling your potential.

Exercising your reason to Live Well means cultivating virtues and avoiding vices. Being a good person will make you happier. There is a reason why Frank Capra's feel-good fantasy It's a Wonderful Life (1946) is the most popular Christmas movie of all time: its message resonates so deeply with the generous and cooperative values most humans share. George Bailey, played by James Stewart, is a troubled philanthropic businessman, persecuted by a rapacious capitalist. He is planning suicide on Christmas Eve. A guardian angel, Clarence, arrives from heaven, and through flashbacks shows George episodes from his past life where he has unselfishly helped others; he has been a devoted family member and offered loans allowing the poor to buy their own houses. Clarence persuades George out of suicide by showing him an alternative version of history in which he had never existed, his family had been deprived of him and the poor had to live in slums. George sees that his \\\"wonderful life\\\" had connected him to other people by his efforts to support them. The movie is also Aristotelian in that it presents life as a project, a continuous arc, which is as wonderful as we choose to make it. However cheesy the film may now seem, it strikes an authentic emotional chord.

La Promesse (1996), by Belgian filmmakers Jean-Pierre and Luc Dardenne, eschews all sentimentality, showing how a young person on the brink of adulthood, and full moral agency, learns the gratification of goodness. At the beginning of the film Igor is only fifteen years old, a trainee mechanic, but he faces an extreme ethical challenge and succeeds in establishing moral independence from his unscrupulous father. The plot involves the accidental death of an illegal immigrant and Igor's father's insistence that Igor help to conceal it. Igor comes to moral maturity and a degree of serenity by assisting the bereaved family in the face of an unfeeling father, feelings of guilt, social vulnerability and fear of the law.

The emphasis on the connection between happiness and virtuous action is one of the fundamental differences between Aristotle's recipe for happiness and that of the other philosophies such as egoism, utilitarianism and Kantianism. In his Politics, to illustrate the difficulty of achieving happiness without trying to be a good person, Aristotle offers an extreme caricature of the vice-ridden and consequently miserable person:

Nobody would call a man ideally happy that has not got a particle of courage nor of self-control nor of decency nor sense, but is afraid of the flies that flutter by him, cannot refrain from any of the most outrageous actions in order to gratify a desire to eat or to drink, ruins his dearest friends for the sake of a penny, and also in matters of the intellect, similarly, is as senseless and mistaken as any infant or lunatic.

George Washington put the same virtue/happiness correlation differently in his 1789 inaugural speech, when he told his New York City audience that there is \\\"an indissoluble union between virtue and happiness.\\\"

Deciding to pursue happiness by Living Well means practicing \\\"virtue ethics\\\" or more simply \\\"Doing the Right Thing.\\\" Aristotle's virtues, likewise, are translated into portentous nouns like \\\"justice,\\\" which really just means treating other people fairly and decently. Virtue ethics have always attracted humanists, agnostics, atheists and skeptics precisely because they offer, to people who want to live contented, decent and constructive lives, a considered way in which to do so. Virtue ethics will help you approach decisions, morality, and the \\\"big questions\\\" about life and death, trusting in your own judgment and ability to look after yourself, your friends and your dependants. But the lack of idiomatic translations of the Greek has been one reason why Aristotle's sensible and effective program of pursuing happiness through deciding to Do the Right Thing has not become more widely understood among the general public. If people understood that personal happiness was down to their own conduct, then happiness, he wrote, would become \\\"more common because it would be possible for more people to share it.\\\" Aristotle goes so far as to say that, ideally, \\\"all humankind would be seen to be in agreement with the views that will be stated,\\\" but, failing that, they should sign up to at least part of the program entailed by virtue ethics, \\\"for everyone has something to contribute.\\\"\"},{\"id\":\"59512710T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":\"John Kaag\",\"sourceName\":\"The New York Times Book Review\",\"displayOrder\":\"1\",\"text\":\"There is a pernicious, but widely held, belief that turning over a new leaf always involves turning our worlds upside down, that living a happy, well-adjusted life entails acts of monkish discipline or heroic strength. The genre of self-help lives and dies on this fanaticism…In our culture, virtuous moderation and prudence rarely sell but, taking her cues from Aristotle, Hall offers a set of reasons to explain why they should. [Aristotle's Way] clears a rare middle way for her reader to pursue happiness, what the ancient Greeks called eudaimonia, usually translated as well-being or prosperity. This prosperity has nothing to do with the modern obsession with material success but rather \\\"finding a purpose in order to realize your potential and working on your behavior to become the best version of yourself.\\\" It sounds platitudinous enough, but it isn't, thanks to Hall's tight yet modest prose…Hall excels when she is at her most frank. For Aristotle, there is latitude when it comes to which endeavors merit our pursuit, but authenticity and self-knowledge are nonnegotiable.\"},{\"id\":\"75706774T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"1\",\"text\":\"Edith Hall is a professor in the Department of Classics and Ancient History at Durham University. She is the author of numerous books, including Aristotle's Way, the Ancient Greeks, and Me. She lives in Cambridgeshire, UK.\"},{\"id\":\"56038811T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"2\",\"text\":\"Edith Hall first encountered Aristotle when she was twenty, and he changed her life forever. Now one of Britain's foremost classicists, and a Professor at King's College London, she is the first woman to have won the Erasmus Medal of the European Academy. In 2017 she was awarded an Honorary Doctorate from Athens University, just a few streets away from Aristotle's own Lyceum. She is the author of several books, including Introducing the Ancient Greeks. She lives with her family in Cambridgeshire.\"}]",{"_41":2031,"_2011":2012,"_2013":2032,"_2001":2033},"gid://shopify/Metafield/41198436188401","seoKeywords","Aristotles-Way/Edith-Hall",{"_41":2035,"_2011":2012,"_2013":2036,"_2001":2037},"gid://shopify/Metafield/41198433239281","workId","1128615831",{"_41":2039,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/41198434681073","skuType","book",{"_41":2043,"_2011":2012,"_2013":2005,"_2001":1959},"gid://shopify/Metafield/41198431797489",{"_1953":1954,"_41":2045,"_71":2046,"_1957":1958,"_825":2047,"_916":2048,"_1961":2049,"_1963":2050,"_1970":2055,"_1978":59,"_1979":2058,"_1985":2061,"_968":2070,"_2005":2072,"_2007":2073},"gid://shopify/Product/8846704148721","The Odyssey: Translated by Emily Wilson","9780393356250","Homer’s great epic of a hero’s journey home—inspiration for the major motion picture by Christopher Nolan—in a bold, contemporary, and refreshingly readable translation.\"Wilson’s language is fresh, unpretentious and lean. . . . It is rare to find a translation that is at once so effortlessly easy to read and so rigorously considered.\" —Madeline Miller, author of CirceComposed at the rosy-fingered dawn of world literature almost three millennia ago, The Odyssey is a poem about violence and the aftermath of war; about wealth, poverty, and power; about marriage and family; about travelers, hospitality, and the yearning for home.This fresh, authoritative translation captures the beauty of this ancient poem as well as the drama of its narrative. Its characters are unforgettable, none more so than the “complicated” hero himself, a man of many disguises, many tricks, and many moods, who emerges in this version as a more fully rounded human being than ever before.Written in iambic pentameter verse and a vivid, contemporary idiom, Emily Wilson’s Odyssey sings with a voice that echoes the epic’s music, sailing along at Homer’s swift, smooth pace.A fascinating, informative introduction explores the Bronze Age milieu that produced the epic, the poem’s major themes, the controversies about its origins, and the unparalleled scope of its impact and influence. Maps drawn especially for this volume, a pronunciation glossary, and extensive notes and summaries of each book make this an Odyssey that will be treasured by a new generation of readers.","

Homer’s great epic of a hero’s journey home—inspiration for the major motion picture by Christopher Nolan—in a bold, contemporary, and refreshingly readable translation.

\"Wilson’s language is fresh, unpretentious and lean. . . . It is rare to find a translation that is at once so effortlessly easy to read and so rigorously considered.\" —Madeline Miller, author of Circe

Composed at the rosy-fingered dawn of world literature almost three millennia ago, The Odyssey is a poem about violence and the aftermath of war; about wealth, poverty, and power; about marriage and family; about travelers, hospitality, and the yearning for home.

This fresh, authoritative translation captures the beauty of this ancient poem as well as the drama of its narrative. Its characters are unforgettable, none more so than the “complicated” hero himself, a man of many disguises, many tricks, and many moods, who emerges in this version as a more fully rounded human being than ever before.

Written in iambic pentameter verse and a vivid, contemporary idiom, Emily Wilson’s Odyssey sings with a voice that echoes the epic’s music, sailing along at Homer’s swift, smooth pace.

A fascinating, informative introduction explores the Bronze Age milieu that produced the epic, the poem’s major themes, the controversies about its origins, and the unparalleled scope of its impact and influence. Maps drawn especially for this volume, a pronunciation glossary, and extensive notes and summaries of each book make this an Odyssey that will be treasured by a new generation of readers.

",{"_41":2051,"_54":2052,"_56":2053,"_50":2054,"_1969":-5},"gid://shopify/ProductImage/47499458117873","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9780393356250_p0.jpg?v=1764986319",596,896,{"_1972":2056},{"_1974":2057,"_1976":1977},"18.95",{"_1972":2059,"_1983":2060},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2062},[2063],{"_41":2064,"_1978":59,"_1991":-5,"_708":2065,"_1993":2066,"_1995":2067,"_1997":2068,"_2003":2047,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46244689641713",{"_41":2051,"_54":2052,"_1969":-5,"_56":2053,"_50":2054},{"_1974":2057,"_1976":1977},{"_71":2046,"_825":2047},[2069],{"_797":2000,"_2001":2002},{"_2001":2071},"[\"High School & College (p9064)\",\"Page & Screen (p4180)\",\"Classroom Literature & Nonfiction (p5500)\",\"B|Bestseller|#007C6C (p7858)\",\"Recently Reviewed (p10276)\",\"The Books You've Always Meant to Read (p10565)\",\"BADGE - Best Seller (p7883)\"]",{"_2001":2047},[2074,-5,-5,2077,2079,-5,2081,2083,2086,2089,2092,-5,2094,2096,-5,2098,2103],{"_41":2075,"_2011":2012,"_2013":2014,"_2001":2076},"gid://shopify/Metafield/39660661047537","[{\"contributorId\":10988,\"fullName\":\"Homer\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":1909727,\"fullName\":\"Emily Wilson\",\"jobName\":\"Translator\",\"sequenceNumber\":2}]",{"_41":2078,"_2011":2012,"_2013":2018,"_2001":1958},"gid://shopify/Metafield/39660661735665",{"_41":2080,"_2011":2012,"_2013":2021,"_2001":1958},"gid://shopify/Metafield/39660660752625",{"_41":2082,"_2011":2012,"_2013":2024,"_2001":2025},"gid://shopify/Metafield/39660661833969",{"_41":2084,"_2011":2012,"_2013":2028,"_2001":2085},"gid://shopify/Metafield/39660663374065","[{\"id\":\"114583242T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"1\",\"text\":\"\\\"A masterpiece of translation—fluent, elegant, vigorous.\\\"— Rowan Williams, Master of Magdalene College, University of Cambridge

\\\"Irresistibly readable, Wilson’s Odyssey turns Homeric epic into a poetic feast.\\\"— Froma Zeitlin, Princeton University

\\\"A staggeringly superior translation—true, poetic, lively and readable, and always closely engaged with the original Greek—that brings to life the fascinating variety of voices in Homer’s great epic.\\\"— Richard F. Thomas, Harvard University

\\\"This will surely be the Odyssey of choice for a generation.\\\"— Lorna Hardwick, The Open University, London

\\\"Emily Wilson has produced a clear, vigorous, sensitive Odyssey that conveys both the grand scale and the individual pathos of this foundational story. This is the most accessible, and yet accurate, translation of Homer’s masterwork that I have ever read.\\\"— Susan Wise Bauer, author of The History of the Ancient World

\\\"'Each generation must translate for itself,' T. S. Eliot declared. Emily Wilson has convincingly answered this call: hers is a vital Odyssey for the twenty-first century that brings into rhythmic English the power, dignity, variety, and immediacy of this great poem.\\\"— Laura Slatkin, New York University

\\\"Having a female scholar and translator look with fresh eyes upon one of the foundational myths of Western civilization is nothing short of revolutionary. Emily Wilson’s riveting translation of The Odyssey ripples with excitement and new meaning. This important and timely addition to our understanding of Homer will be enjoyed for generations to come.\\\"— Aline Ohanesian, author of Orhan’s Inheritance

\\\"Emily Wilson's Odyssey sings with the spare, enchanted lucidity of a minstrel fallen through time. Ever readable but endlessly surprising, this translation redefines the terms of modern engagement with Homer’s poetry.\\\"— Tim Whitmarsh, author of Battling the Gods

\\\"A remarkable new translation. Poised and unadulterated—a feast for the senses.\\\"— Daisy Dunn, author of Catullus’ Bedspread

\\\"This is it—a translation of The Odyssey that is 'eminently rapid…plain and direct,' as Matthew Arnold famously described Homer himself. It is also contemporary and exciting. A gift.\\\"— Barbara Graziosi, author of The Gods of Olympus

\\\"As the first English translation of this ancient tale by a woman, this lively, fast-paced retelling of Homer’s epic is long overdue. Much as Homer did in his time, Wilson whisks the audience into a realm both familiar and fantastical. The world of Odysseus and his adventures take shape before the reader’s eyes, luminescent once more, in this engaging new translation.\\\"— Justine McConnell, King’s College, London, author of Black Odysseys

\\\"To translate Homer’s Odyssey from ancient Greek to contemporary English presents the translator with a virtually insurmountable challenge, because our lives, our minds, and our languages are so different from those of the Greeks of eighteen centuries ago. Somehow, Emily Wilson has pulled it off. To read her translation is to receive a tremendous and unexpected gift.\\\"— Thomas Cahill, author of Sailing the Wine-Dark Sea

\\\"Wilson’s translation is pared down but accurate and readable; it maintains the intrinsic interest of the story and the rapid forward momentum of the poetic line. The metrical regularity is a rare and welcome feature in a modern translation. The diction and tone are contemporary but not slangy or prosaic. All in all, a compelling Odyssey for our time.\\\"— Lillian Doherty, University of Maryland\"},{\"id\":\"114583241T\",\"type\":\"Award Note\",\"linkText\":\"Award Note\",\"typeId\":\"1036\",\"abbr\":\"REV\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"2\",\"text\":\"2018 American Literary Translators Association National Translation Award, Short-listed
2018 New York Times Notable Selection, Commended
\"},{\"id\":\"131390838T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

For centuries, The Odyssey has enthralled readers with its unforgettable tale of adventure. Follow Odysseus and his crew as they outsmart a Cyclops, resist the Sirens' deadly song, and confront the mythical creatures that stand between them and home. Told in beautiful verse, this enduring epic invites you to embark on the legendary voyage back to Ithaca.

\"},{\"id\":\"114583245T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"1\",\"text\":\"

HOMER’s identity is shrouded in mystery. Most scholars agree that an epic poet named Homer likely existed anywhere between 900 to 700 B.C.E. Legend, originating in antiquity, says that Homer was a blind bard from Ionia, but no account of Homer’s life can be verified. The Iliad and The Odyssey, the two epic poems attributed to Homer, which take place during the Trojan War and its aftermath, were derived from the oral storytelling tradition. Their method of composition—either by a single author or several bards working in tandem—remains unknown. The Homeric Poems are among the most significant narratives in the Greek and Western literary canon.

Emily Wilson is a professor of classical studies at the University of Pennsylvania. She has been named a fellow of the American Academy in Rome, a Guggenheim Fellow, and a MacArthur Fellow. In addition to Homer’s Iliad and Odyssey, she has also published translations of Sophocles, Euripides, and Seneca. She lives in Philadelphia.

\"},{\"id\":\"66679341T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"2\",\"text\":\"Emily Wilson is a professor of classical studies at the University of Pennsylvania. She has been named a Fellow of the American Academy in Rome in Renaissance and early modern studies, a MacArthur Fellow, and a Guggenheim Fellow. In addition to Homer’s Iliad and Odyssey, she has also published translations of Sophocles, Euripides, and Seneca. She lives in Philadelphia.\"},{\"id\":\"114583243T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"3\",\"text\":\"

\"},{\"id\":\"58365023T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"4\",\"text\":\"Emily Wilson is a professor of classical studies at the University of Pennsylvania. She has been named a Fellow of the American Academy in Rome in Renaissance and early modern studies, a MacArthur Fellow, and a Guggenheim Fellow. In addition to Homer’s Iliad and Odyssey, she has also published translations of Sophocles, Euripides, and Seneca. She lives in Philadelphia.\"},{\"id\":\"108802238T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"5\",\"text\":\"Emily Wilson is a professor of classical studies at the University of Pennsylvania. She has been named a Fellow of the American Academy in Rome in Renaissance and early modern studies, a MacArthur Fellow, and a Guggenheim Fellow. In addition to Homer's Iliad and Odyssey, she has also published translations of Sophocles, Euripides, and Seneca. She lives in Philadelphia.\"}]",{"_41":2087,"_2011":2012,"_2013":2032,"_2001":2088},"gid://shopify/Metafield/39660662915313","The-Odyssey/Homer",{"_41":2090,"_2011":2012,"_2013":2036,"_2001":2091},"gid://shopify/Metafield/39660660556017","1129773507",{"_41":2093,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/39660661571825",{"_41":2095,"_2011":2012,"_2013":968,"_2001":2071},"gid://shopify/Metafield/39660663537905",{"_41":2097,"_2011":2012,"_2013":2005,"_2001":2047},"gid://shopify/Metafield/39660659474673",{"_41":2099,"_2011":2100,"_2013":2101,"_2001":2102},"gid://shopify/Metafield/64062113808625","reviews","rating","{\"scale_min\":\"1.0\",\"scale_max\":\"5.0\",\"value\":\"4.4\"}",{"_41":2104,"_2011":2100,"_2013":2105,"_2001":2106},"gid://shopify/Metafield/64062113775857","rating_count","7",{"_1953":1954,"_41":2108,"_71":2109,"_1957":1958,"_825":2110,"_916":2111,"_1961":2112,"_1963":2113,"_1970":2118,"_1978":59,"_1979":2121,"_1985":2124,"_968":2133,"_2005":2135,"_2007":2136},"gid://shopify/Product/8833363902705","Pandora's Jar: Women in the Greek Myths","9780063139466","NEW YORK TIMES BESTSELLER“Funny, sharp explications of what these sometimes not-very-nice women were up to, and how they sometimes made idiots of . . . but read on!”—Margaret Atwood, author of The Handmaid's TaleThe national bestselling author of A Thousand Ships returns with a fascinating, eye-opening take on the remarkable women at the heart of classical stories Greek mythology from Helen of Troy to Pandora and the Amazons to Medea.In the world of ancient Greece, the tellers of myths—historically men—have routinely sidelined the female characters. When they do take a larger role, women are often portrayed as monstrous, vengeful or just plain evil—like Pandora, the woman of eternal scorn and damnation whose curiosity is tasked with causing all the world’s suffering and wickedness when she opened that forbidden box. But, as Natalie Haynes reveals, in ancient Greek myths there was no box. It was a jar . . . which is far more likely to tip over.In Pandora’s Jar, the broadcaster, writer, stand-up comedian, and passionate classicist turns the tables on classical mythology, putting the women of the Greek myths on an equal footing with the men. With wit, humor, and savvy, Haynes revolutionizes our understanding of epic poems, stories, and plays in this engaging feminist retelling, resurrecting them from a woman’s perspective and tracing the origins of their mythic female characters. She looks at women such as Jocasta, Oedipus’ mother-turned-lover-and-wife (turned Freudian sticking point), at once the cleverest person in the story and yet often unnoticed. She considers Helen of Troy, whose marriage to Paris “caused” the Trojan war—a somewhat uneven response to her decision to leave her husband for another man. She demonstrates how the vilified Medea was like an ancient Beyonce—getting her revenge on the man who hurt and betrayed her, if by extreme measures. And she turns her eye to Medusa, the original monstered woman, whose stare turned men to stone, but who wasn’t always a monster, and had her hair turned to snakes as punishment for being raped.Pandora’s Jar brings nuance and care to the millennia-old myths and legends and asks the question: Why are we so quick to villainize these women of Greek myth in the first place—and so eager to accept the stories we’ve been told? Mythology Retold: Discover why Pandora didn’t have a box but a jar (far more likely to tip over), and how that simple mistranslation changed our view of the world’s first woman. Feminist History: Explore how the stories of powerful figures were reshaped by the men who told them, turning characters like the monstrous Medusa into victims punished for being assaulted. Unique Angles on Classic Tales: See the women of myth in a new light, from the vilified Medea—reimagined as an ancient Beyoncé getting revenge—to Helen of Troy, whose choice of husband resulted in a somewhat uneven response. Accessible Classical Studies: Join a passionate classicist and comedian as she reveals the cleverness of Jocasta, the nuance of Clytemnestra, and the truth behind the formidable women we thought we knew.","

NEW YORK TIMES BESTSELLER

“Funny, sharp explications of what these sometimes not-very-nice women were up to, and how they sometimes made idiots of . . . but read on!”—Margaret Atwood, author of The Handmaid's Tale

The national bestselling author of A Thousand Ships returns with a fascinating, eye-opening take on the remarkable women at the heart of classical stories Greek mythology from Helen of Troy to Pandora and the Amazons to Medea.

In the world of ancient Greece, the tellers of myths—historically men—have routinely sidelined the female characters. When they do take a larger role, women are often portrayed as monstrous, vengeful or just plain evil—like Pandora, the woman of eternal scorn and damnation whose curiosity is tasked with causing all the world’s suffering and wickedness when she opened that forbidden box. But, as Natalie Haynes reveals, in ancient Greek myths there was no box. It was a jar . . . which is far more likely to tip over.

In Pandora’s Jar, the broadcaster, writer, stand-up comedian, and passionate classicist turns the tables on classical mythology, putting the women of the Greek myths on an equal footing with the men. With wit, humor, and savvy, Haynes revolutionizes our understanding of epic poems, stories, and plays in this engaging feminist retelling, resurrecting them from a woman’s perspective and tracing the origins of their mythic female characters. She looks at women such as Jocasta, Oedipus’ mother-turned-lover-and-wife (turned Freudian sticking point), at once the cleverest person in the story and yet often unnoticed. She considers Helen of Troy, whose marriage to Paris “caused” the Trojan war—a somewhat uneven response to her decision to leave her husband for another man. She demonstrates how the vilified Medea was like an ancient Beyonce—getting her revenge on the man who hurt and betrayed her, if by extreme measures. And she turns her eye to Medusa, the original monstered woman, whose stare turned men to stone, but who wasn’t always a monster, and had her hair turned to snakes as punishment for being raped.

Pandora’s Jar brings nuance and care to the millennia-old myths and legends and asks the question: Why are we so quick to villainize these women of Greek myth in the first place—and so eager to accept the stories we’ve been told?

\nMythology Retold: Discover why Pandora didn’t have a box but a jar (far more likely to tip over), and how that simple mistranslation changed our view of the world’s first woman.
\nFeminist History: Explore how the stories of powerful figures were reshaped by the men who told them, turning characters like the monstrous Medusa into victims punished for being assaulted.
\nUnique Angles on Classic Tales: See the women of myth in a new light, from the vilified Medea—reimagined as an ancient Beyoncé getting revenge—to Helen of Troy, whose choice of husband resulted in a somewhat uneven response.
\nAccessible Classical Studies: Join a passionate classicist and comedian as she reveals the cleverness of Jocasta, the nuance of Clytemnestra, and the truth behind the formidable women we thought we knew.

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“Witty and frequently surprising.” - Times Literary Supplement

“Agile, rich, subversive, Pandora's Jar proves that the classics are far from dead, and keep evolving with us.” - Mail on Sunday

“Engaged, engaging and fun.” - Herald

“Packed with wry humor and scholarly insight, Pandora’s Jar shines a new light on our oldest stories, illuminating its subjects in all their painful complexity.” - Booklist

“Classicist Haynes challenges common ideas about Greek mythology in this sharp corrective. . . . When she hits her stride and seamlessly blends historical, textual, and artistic analysis, her survey sings. Even those casually familiar with Greek mythology will find this enriching.” - Publishers Weekly

\\\"Throughout, Haynes also notes that these often outlandish retellings and related tropes have become (flawed) inspirations for works of modern art, music, and film, including the original Star Trek series, an episode of The Simpsons, Pulp Fiction, and a music video by Beyoncé . . . Readers of all levels of knowledge are certain to be enthralled with her analysis and find her humor and wit captivating. A fun and informative addition to the ongoing consideration of ancient mythology.\\\" - Kirkus Reviews

\\\"A classicist revisits the tales of 10 mythological women from a female perspective, adding a new depth and nuance to the stories of Helen of Troy, Medea, Medusa and others.\\\" - New York Times

“Impassioned and informed . . . When Haynes gets down to retelling the stories . . . and teasing out their distortions and elisions, the book flies.\\\" - Sunday Times (UK)

“Natalie Haynes is beyond brilliant. Pandora’s Jar is a treasure box of classical delights. Never has ancient misogyny been presented with so much wit and style.\\\" - Amanda Foreman, author of The World Made by Women

“Beyoncé, Star Trek, Ray Harryhausen . . . the most enjoyable book about Greek myths you will ever read, absolutely brimming with subversive enthusiasm.” - Mark Haddon, author of The Porpoise and The Curious Incident of the Dog in the Night-Time

\\\"Witty, erudite and subversive, this takes the women of Greek myth―the women who are sidelined, vilified, misunderstood or ignored―and puts them centre stage.\\\" - Samantha Ellis, author of How to Be a Heroine and Take Courage

“Natalie Haynes is [Britain’s] muse.” - Adam Rutherford, author of How to Argue with a Racist

“An erudite, funny and sometimes angry attempt to fill in the blank spaces.” - Observer

“Funny, sharp explications of what these sometimes not-very-nice women were up to, and how they sometimes made idiots of . . . but read on!” - Margaret Atwood, author of The Handmaid's Tale

\\\"A hugely enjoyable and witty book, which will appeal to admirers of novels such as Madeline Miller’s Circe, Kamila Shamsie’s Home Fire, and Haynes’s own fiction.” - The Guardian

“Natalie Haynes is both a witty and an erudite guide. She wears her extensive learning lightly and deftly drags the Classics into the modern world. I loved it.” - Kate Atkinson, author of Life After Life

\"},{\"id\":\"83019226T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

From the author of A Thousand Ships comes a sharp and witty correction to the popularly known Greek myths. Centering on the women often villainized or pushed to the side, this book flips the narrative on its head, giving the women the same weight as the men in classic Greek myths. Natalie Haynes’ brilliant book makes readers question why they were so quick to accept the stories they’ve been told.

\"},{\"id\":\"118824084T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"1\",\"text\":\"

Natalie Haynes is the author of eight books, including the nonfiction work Pandora’s Jar, which was a New York Times bestseller, and the novels A Thousand Ships, which was a national bestseller and short-listed for the 2020 Women’s Prize for Fiction, and Stone Blind. She has written and recorded twelve series of Natalie Haynes Stands Up for the Classics for the BBC. Haynes has written for the Times, the Independent, The Guardian, and the Observer. She lives in London.

\"},{\"id\":\"76721265T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"2\",\"text\":\"Natalie Haynes is the author of eight books, including the nonfiction work Pandora’s Jar, which was a New York Times bestseller, and the novels A Thousand Ships, which was a national bestseller and short—listed for the 2020 Women’s Prize for Fiction, and Stone Blind. She has written and recorded eleven series of Natalie Haynes Stands Up for the Classics for the BBC. Haynes has written for the Times, the Independent, The Guardian, and the Observer. She lives in London.

\"},{\"id\":\"104839675T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"3\",\"text\":\"Natalie Haynes is the author of six books, including the nonfiction work Pandora’s Jar, which was a New York Times bestseller, and the novels A Thousand Ships, which was a national bestseller and short-listed for the 2020 Women’s Prize for Fiction, and Stone Blind. She has written and recorded nine series of Natalie Haynes Stands Up for the Classics for the BBC. Haynes has written for the Times, the Independent, the Guardian, and the Observer. She lives in London.

\"},{\"id\":\"108832122T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"4\",\"text\":\"

Natalie Haynes is the author of six books, including the nonfiction work Pandora's Jar, which was a New York Times bestseller, and the novels A Thousand Ships, which was a national bestseller and short-listed for the 2020 Women's Prize for Fiction, and Stone Blind. She has written and recorded nine series of Natalie Haynes Stands Up for the Classics for the BBC. Haynes has written for the Times, the Independent, the Guardian, and the Observer. She lives in London.

\"},{\"id\":\"118511830T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"5\",\"text\":\"

\"},{\"id\":\"76721167T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"6\",\"text\":\"Natalie Haynes is the author of eight books, including the nonfiction work Pandora’s Jar, which was a New York Times bestseller, and the novels A Thousand Ships, which was a national bestseller and short—listed for the 2020 Women’s Prize for Fiction, and Stone Blind. She has written and recorded eleven series of Natalie Haynes Stands Up for the Classics for the BBC. Haynes has written for the Times, the Independent, The Guardian, and the Observer. She lives in London.

\"}]",{"_41":2150,"_2011":2012,"_2013":2032,"_2001":2151},"gid://shopify/Metafield/39014532907249","Pandoras-Jar/Natalie-Haynes",{"_41":2153,"_2011":2012,"_2013":2036,"_2001":2154},"gid://shopify/Metafield/39014531268849","1139607604",{"_41":2156,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/39014532022513",{"_41":2158,"_2011":2012,"_2013":968,"_2001":2134},"gid://shopify/Metafield/39014533497073",{"_41":2160,"_2011":2012,"_2013":2005,"_2001":2110},"gid://shopify/Metafield/39014530023665",{"_41":2162,"_2011":2100,"_2013":2101,"_2001":2163},"gid://shopify/Metafield/63924872380657","{\"scale_min\":\"1.0\",\"scale_max\":\"5.0\",\"value\":\"4.3\"}",{"_41":2165,"_2011":2100,"_2013":2105,"_2001":2166},"gid://shopify/Metafield/63924872347889","3",{"_1953":1954,"_41":2168,"_71":2169,"_1957":1958,"_825":2170,"_916":2171,"_1961":2172,"_1963":2173,"_1970":2177,"_1978":59,"_1979":2180,"_1985":2183,"_968":2192,"_2005":2194,"_2007":2195},"gid://shopify/Product/8846725021937","The Iliad: Translated by Emily Wilson","9781324076148","“Wilson’s Iliad is clear and brisk, its iambic pentameter a zone of enchantment.” —Ange Mlinko, London Review of Books The greatest literary landmark of antiquity masterfully rendered by the most celebrated translator of our time.When Emily Wilson’s translation of The Odyssey appeared in 2017—revealing the ancient poem in a contemporary idiom that was “fresh, unpretentious and lean” (Madeline Miller, Washington Post)—critics lauded it as “a revelation” (Susan Chira, New York Times) and “a cultural landmark” (Charlotte Higgins, Guardian) that would forever change how Homer is read in English. Now Wilson has returned with an equally revelatory translation of Homer’s other great epic—the most revered war poem of all time.The Iliad roars with the clamor of arms, the bellowing boasts of victors, the fury and grief of loss, and the anguished cries of dying men. It sings, too, of the sublime magnitude of the world—the fierce beauty of nature and the gods’ grand schemes beyond the ken of mortals. In Wilson’s hands, this thrilling, magical, and often horrifying tale now gallops at a pace befitting its legendary battle scenes, in crisp but resonant language that evokes the poem’s deep pathos and reveals palpably real, even “complicated,” characters—both human and divine.The culmination of a decade of intense engagement with antiquity’s most surpassingly beautiful and emotionally complex poetry, Wilson’s Iliad now gives us a complete Homer for our generation.","

“Wilson’s Iliad is clear and brisk, its iambic pentameter a zone of enchantment.” —Ange Mlinko, London Review of Books

\n
The greatest literary landmark of antiquity masterfully rendered by the most celebrated translator of our time.

When Emily Wilson’s translation of The Odyssey appeared in 2017—revealing the ancient poem in a contemporary idiom that was “fresh, unpretentious and lean” (Madeline Miller, Washington Post)—critics lauded it as “a revelation” (Susan Chira, New York Times) and “a cultural landmark” (Charlotte Higgins, Guardian) that would forever change how Homer is read in English. Now Wilson has returned with an equally revelatory translation of Homer’s other great epic—the most revered war poem of all time.

The Iliad roars with the clamor of arms, the bellowing boasts of victors, the fury and grief of loss, and the anguished cries of dying men. It sings, too, of the sublime magnitude of the world—the fierce beauty of nature and the gods’ grand schemes beyond the ken of mortals. In Wilson’s hands, this thrilling, magical, and often horrifying tale now gallops at a pace befitting its legendary battle scenes, in crisp but resonant language that evokes the poem’s deep pathos and reveals palpably real, even “complicated,” characters—both human and divine.

The culmination of a decade of intense engagement with antiquity’s most surpassingly beautiful and emotionally complex poetry, Wilson’s Iliad now gives us a complete Homer for our generation.

",{"_41":2174,"_54":2175,"_56":2176,"_50":1968,"_1969":-5},"gid://shopify/ProductImage/47619888054513","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9781324076148_p0.jpg?v=1765226008",1364,{"_1972":2178},{"_1974":2179,"_1976":1977},"19.99",{"_1972":2181,"_1983":2182},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2184},[2185],{"_41":2186,"_1978":59,"_1991":-5,"_708":2187,"_1993":2188,"_1995":2189,"_1997":2190,"_2003":2170,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46244711006449",{"_41":2174,"_54":2175,"_1969":-5,"_56":2176,"_50":1968},{"_1974":2179,"_1976":1977},{"_71":2169,"_825":2170},[2191],{"_797":2000,"_2001":2002},{"_2001":2193},"[\"B|Bestseller|#007C6C (p7858)\",\"The Books You've Always Meant to Read (p10565)\",\"BADGE - Best Seller (p7883)\"]",{"_2001":2170},[2196,-5,-5,2198,2200,-5,2202,2204,2207,2210,2213,-5,2215,2217,-5,2219,2222],{"_41":2197,"_2011":2012,"_2013":2014,"_2001":2076},"gid://shopify/Metafield/39661683507441",{"_41":2199,"_2011":2012,"_2013":2018,"_2001":1958},"gid://shopify/Metafield/39661683900657",{"_41":2201,"_2011":2012,"_2013":2021,"_2001":1958},"gid://shopify/Metafield/39661683179761",{"_41":2203,"_2011":2012,"_2013":2024,"_2001":2025},"gid://shopify/Metafield/39661683966193",{"_41":2205,"_2011":2012,"_2013":2028,"_2001":2206},"gid://shopify/Metafield/39661684719857","[{\"id\":\"114576237T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"1\",\"text\":\"\\\"Wilson’s style is like the proverbial mountain stream—clean and clear, and bubbling along at pace.… Wilson’s strong authorial voice and open and accessible style…make this volume the definitive Iliad for our times. Readable, relevant and from the heart, this is the Iliad we have all been waiting for, whether we knew it or not.\\\"— Naoíse Mac Sweeney Washington Post

\\\"Wilson’s admirers hoped that her second Homeric translation would be as great an achievement as the first. What they might not have expected is that it would be better.… Emily Wilson has not only produced fresh and limpid new translations of two foundational ancient poems. She has also given a new generation of readers the tools to approach Homer, with comfort and confidence, for the very first time. For those who knew the poems already, she lets Homer speak to them in a new voice.\\\"— Johanna Hanink Slate

\\\"Wilson’s deep love for and understanding of the Iliad—by her own admission, the greater of her Homeric loves—shine through every page of this superb translation. The completion of her verse Homer amounts to nothing less than the renewal of an English poetic tradition.\\\"— Daniel Walden Bulwark

\\\"The experience of reading Homer must be refreshed from time to time with the blood of a new translation. In her version of The Iliad, [Emily] Wilson enlivens the epic with rich sanguinary nutrients.… The result is an Iliad of clarity and approachability, its violence rendered with brutal intimacy: Wilson’s translation is zippy, and it zips the reader to a place and time of alien savagery.… [T]he vigor of language and vision is undeniable.\\\"— Atlantic

\\\"There’s nothing stiff or cool about Emily Wilson’s stirring translation of The Iliad, which whips and crackles beneath the familiar meter of loose iambic pentameter. Wilson tells it all in plain English, to elegant effect.… [S]he deftly coaxes the original’s Dactylic hexameters into our own accentual tongue. We feel her joy, birthed by hard labor.… Wilson has pulled off a thrilling achievement, framing ancient questions in a fresh light.\\\"— Hamilton Cain Boston Globe

\\\"Superb. Emily Wilson’s beautiful, fluent, memorable translation tells us once again that the Olympian gods and the would-be superhumans who want to emulate them are not yet dead in our world.\\\"— Rowan Williams New Statesman

\\\"Wilson is at her best when writing of the battlefield.… [S]he has a knack for the consonantal sounds of warfare. Her opening description of Achilles’ anger, which will lead inexorably to more men’s weapons clanging against metal, terms it ‘cataclysmic wrath.’ Her priority is those iambic Shakespearean rhythms: the beat makes this the perfect translation to read aloud.\\\"— Kate Maltby Financial Times

\\\"Wilson has again presented a Homer that sings, in sprightly iambic pentameter and pellucid language that avoids ponderosities like, well, ponderosities and pellucid.… The shortness of Wilson’s lines…abetted by her unfussy diction and lyricism, are easy on the reader’s eye and seem to help the mind grasp the breadth of Homer’s canvas at any given moment while still marveling at details.… A masterful, highly readable rendering of the Greek classic.\\\"— Kirkus Reviews, starred review

\\\"Seduce[s] with its crystalline clarity, elegance, sensuality, sometimes breathless pace and above all emotional clout.\\\"— Edith Hall Guardian

\\\"Wilson achieves her register—at once plain spoken and slightly removed from everyday speech—partly by studiously avoiding contractions and allowing for metrically convenient epicisms like ‘mighty,’ mixed in with natural-seeming phrases like ‘only just heard the news about the war.’ The effect is not so much to bring the characters of the Iliad into the contemporary sphere, as to bring us into theirs.… Wilson has said that she is an Iliad person rather than an Odyssey one. And I have to say that for all that I enjoyed her Odyssey, I have been even more absorbed by her Iliad. It’s a poem you read with your heart in your throat.\\\"— A. E. Stallings Spectator

\\\"The great virtue of this translation is its handling of action. In Wilson’s verse the acts of the poem stand out in brilliant, clear Mediterranean light.… The lengthy battle scenes in Homer that a reader might well dread—they shine.… Aeschylus claimed that his tragedies were ‘scraps from the great table of Homer,’ and with Wilson the great tragedy of the poem is felt afresh.\\\"— John Byron Kuhner National Review

\\\"When she strikes the perfect balance between propulsive pacing, accessible language, and elevated sensibility, Wilson’s translation is easy to keep reading. When she does this while also listening to the way words sound, it’s even fun. Just as Keats, on first looking into Chapman’s Homer, felt a sense of amazed discovery, so too will readers of Wilson’s Iliad find fresh and absorbing clarity in this ancient poem.\\\"— Zoe Guttenplan Jacobin

\\\"Wilson’s translation of Homeric Greek is always buoyant and expressive.… Wilson wants this version to be read aloud, and it would certainly be fun to perform. In Book 3, we meet Helen of Sparta, now Helen of Troy, ‘weaving a massive double-layered cloth / in dazzling colors, patterning upon it / the many troubles, tests, and tribulations / that Trojan horsemen and bronze-armored Greeks / suffered at Ares’ hands because of her.’ It is a gorgeous moment in both the poem and the translation: the beautiful Helen revealed by Homer as the creator of a war narrative, just like him. The contemporary reader sees a double reflection: Helen at her loom, weaving the same story Homer is telling, the same one Wilson is weaving.\\\"— Natalie Haynes New York Times Book Review

\\\"Wilson’s translation is vivid, lucid, pacy. Avoiding cliché, she renders Homeric phrases into natural, modern English counterparts. At its best, the urgent, almost claustrophobic lub-dub of the pentameter keeps up the frenetic energy of close combat, all the while sounding like natural English.… For those yet to encounter this violent, charming, disturbing, beautiful poem, now is the time.\\\"— Katherine Backler Tablet

\\\"Wilson’s spin on the battlefield saga centered on the Trojan conflict is refreshing and bold.\\\"— Time

\\\"In Wilson’s hands, the poem sings with the clash of bronze, the thundering of hooves, the savage holler of war-cries. Her use of iambic pentameter imbues it with irresistible pace and rhythm. It flows like music—exhilarating, tragic, beautiful and stirring.… Her use of language and imagery makes it a visual experience too; one of glittering metal and flame, full of searing light so that we feel entirely transported to an alien, ancient and terrifying world.… Running throughout is a humane, expressive connection of a truth we all know—the shattering inevitability of loss. Rediscovering it through Wilson’s eyes brought me to tears all over again.\\\"— Jennifer Saint i newspaper

\\\"Wilson brings a rare combination of academic rigor and the lyricism of a born poet to one of Europe’s most important texts, making ancient battles vivid and visceral and the language of Homer sing like few translators before.\\\"— Charlie Connelly New European

\\\"[Wilson] captures so brilliantly the fire and dread and bewilderment and rage of the poem. She wears her erudition beautifully: she matches it with such wit, precision and flair.\\\"— Katherine Rundell\"},{\"id\":\"114576236T\",\"type\":\"Award Note\",\"linkText\":\"Award Note\",\"typeId\":\"1036\",\"abbr\":\"REV\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"2\",\"text\":\"2024 Runciman Award, Short-listed
\"},{\"id\":\"131396457T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

Emily Wilson uses her accessible writing style to bring Homer’s epic poem to life in astonishing detail. Telling an emotionally complex story of war, loss and fury using fresh language, Wilson invites new readers to meet some of literature's most complex characters in The Iliad.

\"},{\"id\":\"91479000T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"2\",\"text\":\"Notes From Your Bookseller

Emily Wilson made the news with her 2017 translation of The Odyssey. She brings a fresh take to one of our other oldest tales, inviting in new readers.

\"},{\"id\":\"114576240T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"1\",\"text\":\"

\"},{\"id\":\"88933412T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"2\",\"text\":\"Emily Wilson is a professor of classical studies at the University of Pennsylvania. She has been named a Fellow of the American Academy in Rome in Renaissance and early modern studies, a MacArthur Fellow, and a Guggenheim Fellow. In addition to Homer’s Iliad and Odyssey, she has also published translations of Sophocles, Euripides, and Seneca. She lives in Philadelphia.\"},{\"id\":\"105902966T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"3\",\"text\":\"Emily Wilson is a professor of classical studies at the University of Pennsylvania. She has been named a Fellow of the American Academy in Rome in Renaissance and early modern studies, a MacArthur Fellow, and a Guggenheim Fellow. In addition to Homer's Iliad and Odyssey, she has also published translations of Sophocles, Euripides, and Seneca. She lives in Philadelphia.\"},{\"id\":\"114576238T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"4\",\"text\":\"

\"},{\"id\":\"88933409T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"5\",\"text\":\"Emily Wilson is a professor of classical studies at the University of Pennsylvania. She has been named a Fellow of the American Academy in Rome in Renaissance and early modern studies, a MacArthur Fellow, and a Guggenheim Fellow. In addition to Homer’s Iliad and Odyssey, she has also published translations of Sophocles, Euripides, and Seneca. She lives in Philadelphia.\"}]",{"_41":2208,"_2011":2012,"_2013":2032,"_2001":2209},"gid://shopify/Metafield/39661684490481","The-Iliad/Homer",{"_41":2211,"_2011":2012,"_2013":2036,"_2001":2212},"gid://shopify/Metafield/39661682884849","1143278097",{"_41":2214,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/39661683835121",{"_41":2216,"_2011":2012,"_2013":968,"_2001":2193},"gid://shopify/Metafield/39661684785393",{"_41":2218,"_2011":2012,"_2013":2005,"_2001":2170},"gid://shopify/Metafield/39661681279217",{"_41":2220,"_2011":2100,"_2013":2101,"_2001":2221},"gid://shopify/Metafield/87401637314801","{\"scale_min\":\"1.0\",\"scale_max\":\"5.0\",\"value\":\"1.0\"}",{"_41":2223,"_2011":2100,"_2013":2105,"_2001":886},"gid://shopify/Metafield/87401637282033",{"_1953":1954,"_41":2225,"_71":2226,"_1957":1958,"_825":2227,"_916":2228,"_1961":2229,"_1963":2230,"_1970":2235,"_1978":59,"_1979":2237,"_1985":2240,"_968":2249,"_2005":2251,"_2007":2252},"gid://shopify/Product/8846784463089","SPQR: A History of Ancient Rome","9781631492228","New York Times BestsellerA New York Times Notable BookNamed one of the Best Books of the Year by the Wall Street Journal, the Economist, Foreign Affairs, and Kirkus ReviewsFinalist for the National Book Critics Circle Award (Nonfiction)Shortlisted for the Cundill Prize in Historical LiteratureFinalist for the Los Angeles Times Book Prize (History)A San Francisco Chronicle Holiday Gift Guide SelectionA New York Times Book Review Editors’ Choice SelectionA sweeping, \"magisterial\" history of the Roman Empire from one of our foremost classicists shows why Rome remains \"relevant to people many centuries later\" (Atlantic). In SPQR, an instant classic, Mary Beard narrates the history of Rome \"with passion and without technical jargon\" and demonstrates how \"a slightly shabby Iron Age village\" rose to become the \"undisputed hegemon of the Mediterranean\" (Wall Street Journal). Hailed by critics as animating \"the grand sweep and the intimate details that bring the distant past vividly to life\" (Economist) in a way that makes \"your hair stand on end\" (Christian Science Monitor) and spanning nearly a thousand years of history, this \"highly informative, highly readable\" (Dallas Morning News) work examines not just how we think of ancient Rome but challenges the comfortable historical perspectives that have existed for centuries. With its nuanced attention to class, democratic struggles, and the lives of entire groups of people omitted from the historical narrative for centuries, SPQR will to shape our view of Roman history for decades to come.","

New York Times Bestseller

A New York Times Notable Book
Named one of the Best Books of the Year by the Wall Street Journal, the Economist, Foreign Affairs, and Kirkus Reviews
Finalist for the National Book Critics Circle Award (Nonfiction)
Shortlisted for the Cundill Prize in Historical Literature
Finalist for the Los Angeles Times Book Prize (History)
A San Francisco Chronicle Holiday Gift Guide Selection
A New York Times Book Review Editors’ Choice Selection

A sweeping, \"magisterial\" history of the Roman Empire from one of our foremost classicists shows why Rome remains \"relevant to people many centuries later\" (Atlantic).

In SPQR, an instant classic, Mary Beard narrates the history of Rome \"with passion and without technical jargon\" and demonstrates how \"a slightly shabby Iron Age village\" rose to become the \"undisputed hegemon of the Mediterranean\" (Wall Street Journal). Hailed by critics as animating \"the grand sweep and the intimate details that bring the distant past vividly to life\" (Economist) in a way that makes \"your hair stand on end\" (Christian Science Monitor) and spanning nearly a thousand years of history, this \"highly informative, highly readable\" (Dallas Morning News) work examines not just how we think of ancient Rome but challenges the comfortable historical perspectives that have existed for centuries. With its nuanced attention to class, democratic struggles, and the lives of entire groups of people omitted from the historical narrative for centuries, SPQR will to shape our view of Roman history for decades to come.

",{"_41":2231,"_54":2232,"_56":2233,"_50":2234,"_1969":-5},"gid://shopify/ProductImage/47444372160753","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9781631492228_p0.jpg?v=1764882245",475,716,{"_1972":2236},{"_1974":2179,"_1976":1977},{"_1972":2238,"_1983":2239},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2241},[2242],{"_41":2243,"_1978":59,"_1991":-5,"_708":2244,"_1993":2245,"_1995":2246,"_1997":2247,"_2003":2227,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46244772086001",{"_41":2231,"_54":2232,"_1969":-5,"_56":2233,"_50":2234},{"_1974":2179,"_1976":1977},{"_71":2226,"_825":2227},[2248],{"_797":2000,"_2001":2002},{"_2001":2250},"[\"Celebrate Women's History Month (p10585)\",\"Classroom Literature & Nonfiction (p5500)\",\"The Books You've Always Meant to Read (p10565)\"]",{"_2001":2227},[2253,-5,-5,2256,2258,-5,2260,2262,2265,2268,2271,-5,2273,2275,-5,2277,2280],{"_41":2254,"_2011":2012,"_2013":2014,"_2001":2255},"gid://shopify/Metafield/39664598483185","[{\"contributorId\":291560,\"fullName\":\"Mary Beard\",\"jobName\":\"Author\",\"sequenceNumber\":1}]",{"_41":2257,"_2011":2012,"_2013":2018,"_2001":1958},"gid://shopify/Metafield/39664599171313",{"_41":2259,"_2011":2012,"_2013":2021,"_2001":1958},"gid://shopify/Metafield/39664597893361",{"_41":2261,"_2011":2012,"_2013":2024,"_2001":2025},"gid://shopify/Metafield/39664599302385",{"_41":2263,"_2011":2012,"_2013":2028,"_2001":2264},"gid://shopify/Metafield/39664601628913","[{\"id\":\"46387629T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":\"Ferdinand Mount\",\"sourceName\":\"The New York Times Book Review\",\"displayOrder\":\"1\",\"text\":\"In SPQR, her wonderful concise history, Mary Beard unpacks the secrets of the city's success with a crisp and merciless clarity that I have not seen equaled anywhere else.\"},{\"id\":\"46331182T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":\"Dwight Garner\",\"sourceName\":\"The New York Times\",\"displayOrder\":\"2\",\"text\":\"…a sprawling but humane volume that examines nearly 1,000 years in the early history of that teeming city and empire…[Beard] is a debunker and a complicator…and charming company. In SPQR she pulls off the difficult feat of deliberating at length on the largest intellectual and moral issues her subject presents (liberty, beauty, citizenship, power) while maintaining an intimate tone…Ms. Beard's prose is never mandarin, yet she treats her readers like peers. She pulls us into the faculty lounge and remarks about debates that can make or end academic careers…You come to Ms. Beard's books to meet her as much as her subjects. They are idiosyncratic and offbeat, which is to say, pleasingly hers.\"},{\"id\":\"114589165T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"3\",\"text\":\"\\\"This book tracks the rise of Rome from backwater village to imperial city, spreading its power from Syria to Spain by 63 BCE, staring down resisters, and originating the idea of nation and citizenship. Included here are the stories not just of Julius Caesar but the butcher, the baker, and the candlestick maker—and certainly women and slaves.\\\"— Barbara Hoffert Library Journal

\\\"In SPQR, her wonderful concise history, Mary Beard unpacks the secrets of the city’s success with a crisp and merciless clarity that I have not seen equaled anywhere else…. We tend to think of the Romans as coarser successors to the Greeks. Yet Beard, who doubles as a Cambridge professor and a television lecturer of irresistible salty charm, shows us how the Roman Republic got underway at almost the same time as the Athenian democracy. And it evolved into just the kind of mixed system that sophisticated commentators like Aristotle and Polybius approved of.\\\"— Ferdinand Mount New York Times Book Review

\\\"Beard does precisely what few popularizers dare to try and plenty of dons can’t pull off: She conveys the thrill of puzzling over texts and events that are bound to be ambiguous, and she complicates received wisdom in the process. Her magisterial new history of Rome, SPQR…is no exception…. The ancient Romans, Beard shows, are relevant to people many centuries later who struggle with questions of power, citizenship, empire, and identity.\\\"— Emily Wilson The Atlantic

\\\"A masterful new chronicle…. Beard is a sure-footed guide through arcane material that, in other hands, would grow tedious. Sifting myth from fact in dealing with the early history of the city, she enlivens—and deepens—scholarly debates by demonstrating how the Romans themselves shaped their legendary beginnings to short-term political ends…. Exemplary popular history, engaging but never dumbed down, providing both the grand sweep and the intimate details that bring the distant past vividly to life.\\\"— The Economist

\\\"Where SPQR differs most from the standard history is in its clear-sighted honesty…. Beard tells this story precisely and clearly, with passion and without technical jargon…. SPQR is a grim success story, but one told with wonderful flair.\\\"— Greg Woolf The Wall Street Journal

\\\"[Beard] is no myth builder; she is a scholar who reaches down-to-earth conclusions based on her years of dedication to her subject…. She is able to step back to see the entire Roman world…. She shows us how to engage with the history, culture, and controversies that made Rome—and why it still matters. Beard's enthusiasm for her subject is infectious…. Lovers of Roman history will revel in this work, and new students will quickly become devotees.\\\"— Kirkus Reviews, Starred Review

\\\"[Fun] helps define what sets Beard apart as commentator and what sets SPQR apart from other histories of Rome. Though she here claims that 50 years of training and study have led up to SPQR, Beard wears her learning lightly. As she takes us through the brothels, bars, and back alleys where the populus Romanus left their imprint, one senses, above all, that she is having fun.\\\"— James Romm New Republic

\\\"Monumental…. A triumphant Roman read that is sure to appear on school curricula and holiday wishlists alike.\\\"— Carly Silver Shelf Awareness

\\\"Mary Beard’s book, SPQR, it’s one of my favorite books of all time.\\\"— Paul Krugman\"},{\"id\":\"114589164T\",\"type\":\"Award Note\",\"linkText\":\"Award Note\",\"typeId\":\"1036\",\"abbr\":\"REV\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"4\",\"text\":\"2015 New York Times Notable Selection, Commended
2015 Los Angeles Times Book Prize, Short-listed
\"},{\"id\":\"90932935T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

By one of, if not the most compelling writers of history, SPQR tells the story of the rise and fall of the Roman Empire like never before, giving fresh perspective and creative nuance that refreshes one of the most talked about periods of history.

\"},{\"id\":\"114589168T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"1\",\"text\":\"

Mary Beard is the author of the best-selling The Fires of Vesuvius and the National Book Critics Circle Award–nominated Confronting the Classics and SPQR. A popular blogger and television personality, Beard is a regular contributor to the New York Review of Books. She lives in England.

\"},{\"id\":\"66679891T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"2\",\"text\":\"Mary Beard is the author of the best-selling The Fires of Vesuvius and the National Book Critics Circle Award–nominated Confronting the Classics and SPQR. A popular blogger and television personality, Beard is a regular contributor to the New York Review of Books. She lives in England.\"},{\"id\":\"91152443T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"3\",\"text\":\"Mary Beard is the author of the best-selling The Fires of Vesuvius and the National Book Critics Circle Award–nominated Confronting the Classics and SPQR. A popular blogger and television personality, Beard is a regular contributor to the New York Review of Books. She lives in England.\"},{\"id\":\"114589166T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"4\",\"text\":\"

\"},{\"id\":\"45633643T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"5\",\"text\":\"Mary Beard is the author of the best-selling The Fires of Vesuvius and the National Book Critics Circle Award–nominated Confronting the Classics and SPQR. A popular blogger and television personality, Beard is a regular contributor to the New York Review of Books. She lives in England.\"}]",{"_41":2266,"_2011":2012,"_2013":2032,"_2001":2267},"gid://shopify/Metafield/39664600613105","SPQR/Mary-Beard",{"_41":2269,"_2011":2012,"_2013":2036,"_2001":2270},"gid://shopify/Metafield/39664597500145","1121186183",{"_41":2272,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/39664598974705",{"_41":2274,"_2011":2012,"_2013":968,"_2001":2250},"gid://shopify/Metafield/39664601792753",{"_41":2276,"_2011":2012,"_2013":2005,"_2001":2227},"gid://shopify/Metafield/39664595042545",{"_41":2278,"_2011":2100,"_2013":2101,"_2001":2279},"gid://shopify/Metafield/61361990533361","{\"scale_min\":\"1.0\",\"scale_max\":\"5.0\",\"value\":\"4.8\"}",{"_41":2281,"_2011":2100,"_2013":2105,"_2001":888},"gid://shopify/Metafield/61361990500593",{"_26":74,"_75":10,"_54":2283},"https://www.barnesandnoble.com/blog/women-in-classics","Women Rewriting the Classics",{"_33":2286,"_26":1109,"_1100":2287,"_71":2579},"f9a99dbfdcbd",{"_964":2288,"_1111":230,"_101":-5,"_54":2577},[2289,2348,2407,2473,2524],{"_1953":1954,"_41":2290,"_71":2291,"_1957":2292,"_825":2293,"_916":2294,"_1961":2295,"_1963":2296,"_1970":2299,"_1978":59,"_1979":2302,"_1985":2306,"_968":2316,"_2005":2318,"_2007":2319},"gid://shopify/Product/9241701023985","The Rolling Stones: The Biography","Hardcover","9780593489093","An Instant New York Times Bestseller“A magisterial work that charts the 60-year journey of ‘the greatest rock and roll band in the world.’ . . . Hundreds of books have been written about the Rolling Stones, but few sparkle quite like Spitz’s. For anyone who loves or even likes the Stones, it’s indispensable.” —Los Angeles TimesAll great music is a threat.What left is there to say about The Rolling Stones? A hell of a lot, it turns out.Bob Spitz has brought his indefatigable energy and five decades of experiences in the fields and hollows of rock 'n’ roll to bear on his five-year journey to reexamine one of popular music’s greatest stories. There are myriad revisions to the conventional narrative which underscore just how in control of that narrative the band has been up to now—small example: no, Muddy Waters was not mopping the floors at Chess Records when the Stones showed up. But in a larger sense, as with the Beatles and Led Zeppelin, Spitz’s greatest gift is for the big picture. He knows where the magic is, and why it is. He is as clear-eyed a connoisseur of the show business, the spectacle and the collateral damage of this whirlwind as anyone alive, and that lucid gaze pierces a lot of incrusted bullshit, but the ultimate goal is to connect with a creative force whose power shows no signs of fading, over sixty years on.At its heart the story is about two boys, Mick and Keith, and their unique, fraught, alchemical bond, often tested, never sundered. The Glimmer Twins. The bandmates, like Charlie Watts, who found their groove in relation to this double star made the trip intact, while those who struggled, like Brian Jones and Mick Taylor, were chewed up and spit out. This is a story with many dark corners, including a surprising number of deaths. But whether Jagger and Richards sold their souls to the devil is at the crossroads for blues greatness or just squeezed their heroes for every drop of inspiration, in the end their connection to their music and to each other put them in a category of one, where they very much remain.","An Instant New York Times Bestseller

“A magisterial work that charts the 60-year journey of ‘the greatest rock and roll band in the world.’ . . . Hundreds of books have been written about the Rolling Stones, but few sparkle quite like Spitz’s. For anyone who loves or even likes the Stones, it’s indispensable.” —Los Angeles Times

All great music is a threat.

What left is there to say about The Rolling Stones? A hell of a lot, it turns out.

Bob Spitz has brought his indefatigable energy and five decades of experiences in the fields and hollows of rock 'n’ roll to bear on his five-year journey to reexamine one of popular music’s greatest stories. There are myriad revisions to the conventional narrative which underscore just how in control of that narrative the band has been up to now—small example: no, Muddy Waters was not mopping the floors at Chess Records when the Stones showed up. But in a larger sense, as with the Beatles and Led Zeppelin, Spitz’s greatest gift is for the big picture. He knows where the magic is, and why it is. He is as clear-eyed a connoisseur of the show business, the spectacle and the collateral damage of this whirlwind as anyone alive, and that lucid gaze pierces a lot of incrusted bullshit, but the ultimate goal is to connect with a creative force whose power shows no signs of fading, over sixty years on.

At its heart the story is about two boys, Mick and Keith, and their unique, fraught, alchemical bond, often tested, never sundered. The Glimmer Twins. The bandmates, like Charlie Watts, who found their groove in relation to this double star made the trip intact, while those who struggled, like Brian Jones and Mick Taylor, were chewed up and spit out. This is a story with many dark corners, including a surprising number of deaths. But whether Jagger and Richards sold their souls to the devil is at the crossroads for blues greatness or just squeezed their heroes for every drop of inspiration, in the end their connection to their music and to each other put them in a category of one, where they very much remain.",{"_41":2297,"_54":2298,"_56":1967,"_50":1968,"_1969":-5},"gid://shopify/ProductImage/47560408465649","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9780593489093_p0.jpg?v=1772508698",{"_1972":2300},{"_1974":2301,"_1976":1977},"35.0",{"_1972":2303,"_1983":2305},{"_1974":2304,"_1976":1977},"38.0",{"_1974":2304,"_1976":1977},{"_1987":2307},[2308],{"_41":2309,"_1978":59,"_1991":2310,"_708":2311,"_1993":2312,"_1995":2313,"_1997":2314,"_2003":2293,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46750131323121",{"_1974":2304,"_1976":1977},{"_41":2297,"_54":2298,"_1969":-5,"_56":1967,"_50":1968},{"_1974":2301,"_1976":1977},{"_71":2291,"_825":2293},[2315],{"_797":2000,"_2001":2002},{"_2001":2317},"[\"BADGE - $3 OFF (p7877)\",\"B|$3 Off|#DD2A27|#701F15 (p7847)\",\"Our Most Anticipated Books (p10162)\",\"Retail Price fixing (p261)\"]",{"_2001":2293},[2320,-5,-5,2323,2325,-5,2327,2330,2333,2336,2339,-5,2341,2343,-5,-5,2345],{"_41":2321,"_2011":2012,"_2013":2014,"_2001":2322},"gid://shopify/Metafield/59162749894897","[{\"contributorId\":227522,\"fullName\":\"Bob Spitz\",\"jobName\":\"Author\",\"sequenceNumber\":1}]",{"_41":2324,"_2011":2012,"_2013":2018,"_2001":2292},"gid://shopify/Metafield/59162750189809",{"_41":2326,"_2011":2012,"_2013":2021,"_2001":2292},"gid://shopify/Metafield/59162749731057",{"_41":2328,"_2011":2012,"_2013":2024,"_2001":2329},"gid://shopify/Metafield/59162750255345","118",{"_41":2331,"_2011":2012,"_2013":2028,"_2001":2332},"gid://shopify/Metafield/69551239102705","[{\"id\":\"126068609T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Chapter One

The Blues Brothers

Keith was born my brother by accident by different parents.

-Mick Jagger

He's a smart little motherfucker, I'll give him that.

-Keith Richards

Michael Philip Jagger's situation was complicated. There were expectations weighing on his shoulders. Born July 26, 1943, in an England under attack, Mike, as he was known, was vessel for the Jagger family's hopes of an upwardly mobile trajectory. His parents, Joe and Eva, had already crossed the tracks from a working-class Dartford subdivision to one of the borough's posher new enclaves called the Close, sporting single-family homes and big backyards. Eva, a clever housewife, sold Avon beauty products to boost the family income. Joe, in a few high-flying years, had leapfrogged from high school gym teacher to lecturer at St. Mary's College and television sports guru, establishing his bona fides as one of England's preeminent fitness experts. He was grooming Mike to follow in his footsteps.

Joe and Mike were an early television tag team. Viewers tuned in regularly to watch their routines. When there was an exercise to demonstrate, Joe had Mike spring into action and perform twenty jumping jacks, or press a hundred pounds, or chin a bar. The kid was a natural. He not only handled anything Joe threw at him but turned on the charm.

Mike had all the tools necessary to leap social classes in a single bound. He played cricket, rugby, basketball, and tennis. He excelled at track, threw the javelin, undertook a taxing daily regimen of push-ups and sit-ups. Academically, he was a decent, if lazy, student-he graduated twelfth in a class of twenty-five-more intuitive than intellectual. Friends considered him outgoing. And he had spunk.

\\\"I didn't have any inhibitions,\\\" he recalled. Even as a kid, at fifteen or sixteen, he'd front a little pop combo and \\\"do mad things,\\\" raising the heat in a local auditorium by dropping to his knees and rolling on the ground in some weird mash-up of Johnnie Ray and Bruno Sammartino. Audiences were shocked at first-he could see it in their faces-but they ate it up, save for two stony-eyed observers who patrolled the back aisles of his performances. \\\"My parents were extremely disapproving of it all,\\\" he remembered; \\\"it was just not done\\\" in polite company. The music and behavior were \\\"for very low-class people.\\\"

Keeping up appearances generally meant conformity in 1950s Britain, but Mike had his own ideas. Image was a contrivance he played with from the outset. It didn't matter if he was on a stage or running the quarter mile for Dartford Grammar. \\\"I thought, 'Sod how we did in competition.' My first thought was: 'How does my hair look?'\\\"

This was one strange boy. There were time-honored formalities in place to preserve the status quo. Etiquette to be adhered to and respected. But Mike Jagger was already pushing at boundaries, testing his elders, trying on various identities for size. He was content either to sing as part of a choir, until his voice broke, or to make a complete fool of himself in front of twenty people. He flouted Dartford Grammar's faux-Etonian dress code by wearing casual clothes, he challenged the headmaster, ignored the school's mandate to join the militaristic Combined Cadet Force, and was initiated into sexual experience with a boy.

And he listened to music. Not those insipid pop hits of the day on the BBC's Light Programme, but that vulgar stuff corrupting British teenagers that streamed over Radio Luxembourg and Armed Forces Radio. He fancied the bad boys-Eddie Cochran, Gene Vincent, Jerry Lee Lewis, Elvis Presley. And those Black musicians with their wild sorties-\\\"Who Do You Love?\\\" I'm Your \\\"Hoochie Coochie Man,\\\" and \\\"Mannish Boy.\\\" A cook at a nearby U.S. Army base, where Mike volunteered as a fitness instructor, had an extraordinary record collection: Lead Belly, Robert Johnson, Howlin' Wolf, and Muddy Waters. It was a revelation. The Black man's music! He was hooked, he couldn't get enough of it.

Mike Jagger was walking a fine line. He strove to please his parents, whom he adored and respected, but he was struggling to meet their expectations and still be his own man. His father didn't give him an inch. Even though Mike got seven O levels and three A level passes-the equivalent of college advance placement courses-Joe was never satisfied. \\\"Get on your homework,\\\" he bellowed whenever the music-\\\"jungle music,\\\" Joe called it-came wafting from behind Mike's bedroom door. Joe hounded him about exercising, to get in shape, to stay fit. \\\"He couldn't go anywhere without his father shouting that he needed to do his weights or push-ups,\\\" recalled Dick Taylor, another music junkie who lived nearby in Dartford. It was a constant struggle.

Especially considering Mike's circumstances at LSE. He'd nabbed a coveted scholarship that gave him a weekly stipend of £7 to cover expenses. Plus, there were perks. Enrollment there conferred a certain status. A long line of dignitaries had risen from the school's storied ranks. Bertrand Russell and John Maynard Keynes dropped in to lecture. A degree got you a ticket to the English middle class. But Mike constantly wrestled with the relevance of his education. He couldn't square the work and effort with where it was leading.

\\\"When I was twelve or thirteen, I was thinking of becoming a journalist,\\\" he recalled. \\\"Then I was imagining that I was going to be in some form of government, because I was interested in macroeconomics, how government influenced the economy.\\\" But now music had intruded. Fats Domino, Little Richard, Chuck Berry, Bo Diddley-another new, fantastic discovery almost every week.

Friday afternoons, while his LSE classmates grabbed lunch, Mike spent the hour around the corner from school, in the basement of Dobells, a mostly jazz-oriented record shop, scavenging among the dusty bins of album rejects hoping to unearth anything that looked like an authentic blues gem. The exotic labels were catnip: Aladdin, Duke, Modern, Excello, Specialty. He'd chase anything down that gave off a whiff of authentic blues.

The so-called bands Mike fronted offered little inspiration. \\\"I was in loads of skiffle groups,\\\" he said, joining the fad of folk-music enthusiasts. He'd busk with his mate Dick Taylor or any number of public school minstrels who bashed away on their homemade instruments with joie de vivre and little else. And even though another band from Dartford Grammar, the Southerners, nabbed a prestigious TV gig, skiffle soon wore out its welcome. There were only so many times one could sing \\\"Rock Island Line\\\" or \\\"Pick a Bale of Cotton.\\\"

After Mike saw Buddy Holly perform, his taste evolved into a steady diet of rock 'n roll. Mike auditioned to sing with a band made up of friends he'd known from primary school, but they were appalled by his offbeat voice. Instead, he, Dick Taylor, and two other schoolmates, Bob Beckwith and Alan Etherington, set up shop and ran through every rock 'n roll song they could think of-always including \\\"La Bamba.\\\"

Eventually, they made it official, calling themselves a band: Little Boy Blue and the Blue Boys. There were no gigs; gigs never entered their minds. It was enough to play as an ensemble in Dick Taylor's back garden or at Alan Etherington's house. The band's equipment was an assemblage of spare parts. Dick inherited a drum kit of the tin-can variety. No amplifiers figured in the equation, but a Grundig radiogram-one of those boxy wooden radio/gramophone players that occupied the corners of most British living rooms-had a jack and enough wattage to produce a suitable squawk. Bob and Alan took turns plugging their guitars into it, forcing Mike, sans microphone, to project his voice over the clatter.

There was never any question who would handle the vocals. Mike, who played no instrument, simply assumed the role, installing himself as frontman. He was completely uninhibited. He never gave a second thought to how he'd come off mimicking the gritty sound and phrasing of forty-year-old Black men, to say nothing of acting out a lyric by grinding his hips or rolling his eyes. Instinctively, he knew how to move, he was seductive, and he had presence. Most sixteen-year-olds would have saved the theatrics for the stage, but whenever they rehearsed, Mike was always in character, always Little Boy Blue. He never held anything back.

By the time Mike enrolled at the London School of Economics in September 1961, the band's repertoire had undergone a sea change. Songs dominating the UK charts were a simpering hodgepodge. \\\"Hello Mary Lou,\\\" \\\"Rubber Ball,\\\" \\\"Poetry in Motion,\\\" \\\"Michael, Row the Boat Ashore.\\\" British rock 'n roll impostors like Cliff Richard, Tommy Steele, and Terry Dene peddled syrupy pop. Even Elvis, their idol from the United States, had lost his sting, crooning mainstream drivel like \\\"Wooden Heart\\\" and \\\"Surrender.\\\" Buddy and Eddie were dead, Jerry Lee canceled, Little Richard God-fearing, Chuck about to do hard time. Rock 'n roll-the rock 'n roll that had ignited the boys' imaginations-was in a bad place. Mike decided to take things in a different direction.

As far as a band was concerned, the blues he and Dick Taylor had been listening to had more upside. The blues was gritty, ferocious, it pulsed with whoop and holler and a primal sexuality. To play it, you had to put your heart and soul into it. You had to celebrate it as if you spoke the language, understood the inimitable poetry of blues, suffered the consequences of life. A singer, especially, had to give it expression and nuance, calibrating his voice so that it could slide from high-flying falsetto to a deep, trembling moan without missing a beat. And he had to believe it. A big ask for an eighteen-year-old.

No, Little Boy Blue and the Blue Boys weren't going to play that sappy Top 40 shit. They were going to play the blues. Forget the fact that no one their age was listening to the blues or that you couldn't find blues records in any of the local shops. Forget that few blues singers had ever performed in England. None of that was of any consequence. They were going to play the blues-celebrate the blues-because it mattered, period.

Luckily, Mike had curated his own little Library of Blues Esoterica. \\\"In 1961, [he] had reels of Jimmy Reed tapes,\\\" said a trusted friend, \\\"Elmore James's 'The Sun Is Shining,' a lot of unissued Muddy Waters and Little Walter stuff, and Slim Harpo.\\\" These were relics from the sacred canon. Eventually, Mike and Dick helped to expand the band's horizons, introducing them to more cutting-edge artists like Memphis Slim, John Lee Hooker, Lightnin' Hopkins, and Howlin' Wolf. They'd play all the essential blues standbys-\\\"Smokestack Lightnin',\\\" \\\"Good Morning, School Girl,\\\" \\\"Shame, Shame, Shame,\\\" \\\"Eldorado Cadillac,\\\" \\\"It's Gonna Work Out Fine.\\\" And for dessert, \\\"La Bamba.\\\"

Plans got scrambled a bit when Keith Richards entered the picture. He showed up at the Carousel coffee bar to check out Mike's scene. He even brought his guitar, a secondhand Hofner Archtop with a cheap Japanese pickup wedged under the strings. But Mike's friends intimidated him, so he sat silently for the most part, taking it in. Keith was better one on one. Alone with Mike, he came alive, especially when a tape rolled and a song he never heard before came through the speaker.

Keith knew Chuck Berry and Buddy Holly inside out, but Bo Diddley was a revelation. John Lee Hooker, Jimmy Reed, Little Walter . . . Where have these guys been all my life? \\\"He started to play me these records, and I really turned on to it,\\\" Keith recalled. The two boys would sit for hours hunched over a tape or record, dissecting a song as if it were a frog in biology class: first analyzing the overall sound, then paring away the chords, the words, the performance, the expression, until nothing was left except to play the damned thing. \\\"[H]e'd start to sing, and I'd start to play, and 'Hey, that ain't bad.'\\\"

A real attraction formed between the two boys, a chemical connection. They began to intuit each other, to reach a mutual decision about songs, technique, life in general, without having to say it aloud. Friendship was one thing, but this was something else, something deeper. They understood each other. For Keith Richards, who had yet to find a real purpose in life, it was transformational. Mike wasn't just another acquaintance who'd rotate in and out of his life. He was a friend, not a word Keith used lightly.

An only child, Keith Richards was used to being alone. He was an irrefutable war baby. Shy, skinny, a cagey observer, with an independent streak that bordered on compulsive.

Born in Dartford on December 18, 1943, Keith was conceived as an excuse for his mother, Doris, to avoid wartime work. His father, Bert, toiled long hours in a General Electric factory before being called up soon after D-Day. \\\"Pretty distant\\\" is the way Keith remembers him. Doris, on the other hand, was equal parts doting mother and ballbuster. She adored her son-the courteous, angelic version. But she didn't give the devilish side an inch, threatening to have him taken away by \\\"the Man\\\" when he misbehaved. To prepare him for the hard world ahead, she euthanized his pets.

Still, family was a refuge. Keith's mother's six sisters served as warmhearted aunties, and his grandfather, Gus, provided the magic. Theodore Augustus \\\"Gus\\\" Dupree is the éminence grise in the Keith Richards story-\\\"a guy,\\\" in Keith's eyes, \\\"who could do anything.\\\" The man wore any number of interchangeable hats-musician, baker, storyteller, prankster, peacemaker, roué, maverick, grandfather extraordinaire. A little boy couldn't conjure up a better playmate.

Gus rescued Keith as soon as he was old enough to walk, taking him on long excursions, during which he imparted truths, half-truths, and tall stories meant to teach his grandson how to live. Keith was a quick study, acquiring from Gus a sense of irreverence and individualism, self-reliance, not taking any shit. \\\"There's a joy in life; that's what I learned from my grandfather,\\\" Keith recalled. \\\"He just enjoyed the world, and he taught me how to do that.\\\"

And then, in 1956, during one of their routine visits, Gus took down a Spanish guitar that sat atop his upright piano and put it into his grandson's hands. Gus had mastered saxophone and violin while only tinkering with the guitar, but he managed to show Keith how to form the major chords. A lonely thirteen-year-old and a guitar-the cap was off the gusher.

Keith could already sing. From the time he was eleven, he performed nobly in Dartford Tech's boys choir, one of three gorgeous sopranos-\\\"the worst hoods in my school,\\\" he recalls. In their white surplices they passed as little angels, until their voices broke.\"},{\"id\":\"120502304T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"1\",\"text\":\"\\\"This rascally, standard-bearing biography presents the saga of the Rolling Stones as a melodrama fed by forces in diametric opposition: blues versus pop, sobriety versus altered consciousness, the Stones versus the law, Stone versus Stone.\\\" — The New Yorker

\\\"Fond, voluble and diligent . . . Spitz is both forensic and poetic.\\\" — Leah Greenblatt, New York Times

\\\"Excels at presenting the Stones in glorious Technicolor . . . indispensable.\\\" — Marc Ballon, LA Times

“You won’t look at the Stones the same way again” — David Kirby, The Wall Street Journal

“Sure to titillate Stones fans with its many insider stories” — Nathan Smith, The Observer

\\\"Booze, blues, bust-ups, sex, drugs and rock ‘n’ roll … captures the unique and often troubled alchemy … the definitive (and debauched) biography\\\" — Telegraph

\\\"An epic new biography\\\" — Sunday Times

‘A comprehensive , unsparing and bloody history of the biggest rock band of all time’ —Independent

\\\"A real rock 'n’ roll revelation … a story with many dark corners\\\" — Sunday Mail

\\\"Deft and wide-ranging … is sure to titillate Stones fans with its many insider stories; skeptics may be converted by the book's electrifying history of a group that has remained at rock's forefront for countless decades.\\\" — Observer

\\\"A lengthy volume – deserving of a band as big and influential as the Stones – but it is so well researched that there will be satisfaction throughout\\\" — Sunday Express \\\"The story unfurls with crime fiction thrill and speed, the focus on the intense, jealousy-filled relationship between Mick Jagger and Keith Richards.\\\" — Mojo

“A terrific biography . . . A must for every fan of the Stones and rock and roll, a work of music history to savor.” — Booklist (starred review)

“Spitz offers a good explanation for why the Stones have endured, filthy rich while continuing to present themselves as unwholesome, dangerous street rats . . . a treasure trove for Stones fans.” — Kirkus (starred review)\"},{\"id\":\"125358400T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

The legendary rock band comes alive in this new biography, exploring the bond between Mick and Keith, their musical genius, and the darker side of their rock ’n’ roll legacy.

\"},{\"id\":\"117231310T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"

Bob Spitz is the award-winning author of The Beatles and Led Zeppelin: The Biography as well as ten other works of non-fiction. His best-selling book Dearie: The Remarkable Life of Julia Child has been made into a documentary and will open as a play called The Recipe early next year. A lifelong musician, Spitz helped manage Bruce Springsteen and Elton John at crucial points in their careers. He lives in New York City and Los Angeles

\"},{\"id\":\"114396003T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"2\",\"text\":\"Bob Spitz is the award-winning author of the biographies The Beatles and Dearie: The Remarkable Life of Julia Child, both New York Times bestsellers, as well as six other nonfiction books and a screenplay. He helped manage Bruce Springsteen and Elton John at crucial points in their careers. He's written hundreds of major profiles of figures, ranging from Keith Richards to Jane Fonda, from Paul McCartney to Paul Bowles.\"}]",{"_41":2334,"_2011":2012,"_2013":2032,"_2001":2335},"gid://shopify/Metafield/59162750779633","The-Rolling-Stones/Bob-Spitz",{"_41":2337,"_2011":2012,"_2013":2036,"_2001":2338},"gid://shopify/Metafield/59162749665521","1148002760",{"_41":2340,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/59162750124273",{"_41":2342,"_2011":2012,"_2013":968,"_2001":2317},"gid://shopify/Metafield/75058458460401",{"_41":2344,"_2011":2012,"_2013":2005,"_2001":2293},"gid://shopify/Metafield/59162749174001",{"_41":2346,"_2011":2100,"_2013":2105,"_2001":2347},"gid://shopify/Metafield/86773039333617","0",{"_1953":1954,"_41":2349,"_71":2350,"_1957":2292,"_825":2351,"_916":2352,"_1961":2353,"_1963":2354,"_1970":2358,"_1978":59,"_1979":2361,"_1985":2364,"_968":2373,"_2005":2375,"_2007":2376},"gid://shopify/Product/9340224864497","A Screaming Life: Into the Superunknown with Soundgarden and Beyond","9780063416291","NEW YORK TIMES BESTSELLERThe memoir by co-founding member of Soundgarden and lead guitarist Kim Thayil about one of the 1990s’ signature rock bands From Soundgarden’s humble beginnings manifesting grunge in Seattle's beer-soaked punk clubs to their revered status today as rock icons, the band’s journey has been nothing short of extraordinary. In A Screaming Life, founding member and guitar god Kim Thayil goes backstage to introduce the band that fearlessly pushed the boundaries of rock, invented a new genre, and amassed fervent fans from every corner of the world.Thayil shares the story of how he and his Soundgarden bandmates—Hiro Yamamoto, Ben Shepherd, Matt Cameron, and Chris Cornell—faced the triumphs and challenges on the road to their historic and influential rise. His storytelling channels the essence of Soundgarden’s era-defining sound—one that’s supercharged with raw creativity and unapologetic lyrics—and explores the ways that Soundgarden was shaped by the diverse backgrounds of its creators: Thayil's Indian heritage and founding bassist Hiro Yamamoto's Japanese background added unique dimensions to the band's identity, influencing not only their music but also their experiences in the industry.For Soundgarden fans and ‘90s alternative rock enthusiasts, A Screaming Life not only gives behind-the-scenes access to one of the most revered bands, but it also demonstrates the power music and its creators have to transform culture.","

NEW YORK TIMES BESTSELLER

The memoir by co-founding member of Soundgarden and lead guitarist Kim Thayil about one of the 1990s’ signature rock bands

From Soundgarden’s humble beginnings manifesting grunge in Seattle's beer-soaked punk clubs to their revered status today as rock icons, the band’s journey has been nothing short of extraordinary. In A Screaming Life, founding member and guitar god Kim Thayil goes backstage to introduce the band that fearlessly pushed the boundaries of rock, invented a new genre, and amassed fervent fans from every corner of the world.

Thayil shares the story of how he and his Soundgarden bandmates—Hiro Yamamoto, Ben Shepherd, Matt Cameron, and Chris Cornell—faced the triumphs and challenges on the road to their historic and influential rise. His storytelling channels the essence of Soundgarden’s era-defining sound—one that’s supercharged with raw creativity and unapologetic lyrics—and explores the ways that Soundgarden was shaped by the diverse backgrounds of its creators: Thayil's Indian heritage and founding bassist Hiro Yamamoto's Japanese background added unique dimensions to the band's identity, influencing not only their music but also their experiences in the industry.

For Soundgarden fans and ‘90s alternative rock enthusiasts, A Screaming Life not only gives behind-the-scenes access to one of the most revered bands, but it also demonstrates the power music and its creators have to transform culture.

",{"_41":2355,"_54":2356,"_56":2357,"_50":1968,"_1969":-5},"gid://shopify/ProductImage/47636739227889","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9780063416291_p0.jpg?v=1782415675",1317,{"_1972":2359},{"_1974":2360,"_1976":1977},"32.0",{"_1972":2362,"_1983":2363},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2365},[2366],{"_41":2367,"_1978":59,"_1991":-5,"_708":2368,"_1993":2369,"_1995":2370,"_1997":2371,"_2003":2351,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/47046224740593",{"_41":2355,"_54":2356,"_1969":-5,"_56":2357,"_50":1968},{"_1974":2360,"_1976":1977},{"_71":2350,"_825":2351},[2372],{"_797":2000,"_2001":2002},{"_2001":2374},"[\"Our Most Anticipated Books (p10162)\",\"Recently Reviewed (p10276)\"]",{"_2001":2351},[2377,-5,-5,2380,2382,-5,2384,2386,2389,2392,2395,-5,2397,2399,-5,2401,2404],{"_41":2378,"_2011":2012,"_2013":2014,"_2001":2379},"gid://shopify/Metafield/67767039721713","[{\"contributorId\":32333674,\"fullName\":\"Kim Thayil\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":3909752,\"fullName\":\"Adem Tepedelen\",\"jobName\":\"Author\",\"sequenceNumber\":2}]",{"_41":2381,"_2011":2012,"_2013":2018,"_2001":2292},"gid://shopify/Metafield/67767039852785",{"_41":2383,"_2011":2012,"_2013":2021,"_2001":2292},"gid://shopify/Metafield/67767039590641",{"_41":2385,"_2011":2012,"_2013":2024,"_2001":2329},"gid://shopify/Metafield/67767039885553",{"_41":2387,"_2011":2012,"_2013":2028,"_2001":2388},"gid://shopify/Metafield/80509598269681","[{\"id\":\"127077425T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"1\",\"text\":\"

\\\"Such dissonance—between public triumph and private unraveling—animates this candid memoir… Charting Soundgarden's rise, breakup, and return, A Screaming Life offers a clear-eyed account of a defining band that resists easy nostalgia, emphasizing the fragile, fleeting nature of artistic connection.\\\" - Booklist

\\\"In this entertaining memoir . . . Thayil balances his enthusiasm about the band’s rise with frank discussions about creative conflicts over the group’s hard-rock and psychedelic influences, which contributed to its breakup in 1997. Thayil’s grief over Cornell’s death in 2017 is particularly moving. Readers will find it an amiable and intriguing history of an influential rock group.\\\" - Publishers Weekly

\"},{\"id\":\"127123920T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"

KIM THAYIL is a Grammy Award–winning musician and Soundgarden’s lead guitarist. Born in Seattle to immigrant parents, he grew up in Chicago before meeting Hiro Yamamoto and returning to the West Coast. Together with Chris Cornell, the trio founded Soundgarden and went on to create critically acclaimed albums, including Superunknown. Rolling Stone has ranked Thayil among the greatest guitarists of all time, and Soundgarden was inducted into the Rock & Roll Hall of Fame in 2025.

ADEM TEPEDELEN is a freelance editor and writer, whose work has appeared in Decibel, Rolling Stone, Seattle Weekly, and many other publications. He is the coauthor of Mud Ride, with Steve Turner, and A Fabulous Disaster, with Gary Holt.

\"}]",{"_41":2390,"_2011":2012,"_2013":2032,"_2001":2391},"gid://shopify/Metafield/67767040147697","A-Screaming-Life/Kim-Thayil",{"_41":2393,"_2011":2012,"_2013":2036,"_2001":2394},"gid://shopify/Metafield/67767039492337","1148594290",{"_41":2396,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/67767039820017",{"_41":2398,"_2011":2012,"_2013":968,"_2001":2374},"gid://shopify/Metafield/77546025222385",{"_41":2400,"_2011":2012,"_2013":2005,"_2001":2351},"gid://shopify/Metafield/67767038804209",{"_41":2402,"_2011":2100,"_2013":2101,"_2001":2403},"gid://shopify/Metafield/82277710561521","{\"scale_min\":\"1.0\",\"scale_max\":\"5.0\",\"value\":\"5.0\"}",{"_41":2405,"_2011":2100,"_2013":2105,"_2001":2406},"gid://shopify/Metafield/82200411472113","2",{"_1953":1954,"_41":2408,"_71":2409,"_1957":1958,"_825":2410,"_916":2411,"_1961":2412,"_1963":2413,"_1970":2418,"_1978":59,"_1979":2420,"_1985":2423,"_968":2432,"_2005":2434,"_2007":2435},"gid://shopify/Product/8871634338033","Heated Rivalry (Game Changers #2)","9781335534637","A NEW YORK TIMES BESTSELLER • NOW A #1 STREAMING SHOW The epic enemies-to-lovers hockey romance from Rachel Reid, streaming on Crave in Canada and on HBO Max in the U.S.\"The book that got me into hockey romance.\" —NPR's Weekend EditionNothing interferes with pro hockey star Shane Hollander’s game.Now that he’s captain of the Montreal Voyageurs, he won’t let anything jeopardize that—definitely not the sexy rival he loves to hate.Boston Bears captain Ilya Rozanov is everything Shane’s not. The self-proclaimed king of the ice, he’s as cocky as he is talented. No one can beat him—except Shane. Publicly, they’re enemies. Privately, they can’t stop touching each other. The smart thing to do? Walk away, once a few secret hookups turn into a struggle to keep their relationship out of the press. The truth could ruin them both. But for Shane and Ilya, secrecy is soon no longer an option…Game Changers Book 1: Game Changer Book 2: Heated Rivalry Book 3: Tough Guy Book 4: Common Goal Book 5: Role Model Book 6: The Long Game Book 7: Unrivaled Need more Reid?! Check out these other standalones from your favorite MM hockey romance writer: Time to Shine The Shots You Take","A NEW YORK TIMES BESTSELLER • NOW A #1 STREAMING SHOW

The epic enemies-to-lovers hockey romance from Rachel Reid, streaming on Crave in Canada and on HBO Max in the U.S.

\"The book that got me into hockey romance.\" —NPR's Weekend Edition

Nothing interferes with pro hockey star Shane Hollander’s game.

Now that he’s captain of the Montreal Voyageurs, he won’t let anything jeopardize that—definitely not the sexy rival he loves to hate.

Boston Bears captain Ilya Rozanov is everything Shane’s not. The self-proclaimed king of the ice, he’s as cocky as he is talented. No one can beat him—except Shane. Publicly, they’re enemies. Privately, they can’t stop touching each other.

The smart thing to do? Walk away, once a few secret hookups turn into a struggle to keep their relationship out of the press. The truth could ruin them both. But for Shane and Ilya, secrecy is soon no longer an option…

Game Changers

Book 1: Game Changer
Book 2: Heated Rivalry
Book 3: Tough Guy
Book 4: Common Goal
Book 5: Role Model
Book 6: The Long Game
Book 7: Unrivaled

Need more Reid?! Check out these other standalones from your favorite MM hockey romance writer:

Time to Shine
The Shots You Take

",{"_41":2414,"_54":2415,"_56":2416,"_50":2417,"_1969":-5},"gid://shopify/ProductImage/48061690708209","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9781335534637_p0.jpg?v=1773700429",902,1356,{"_1972":2419},{"_1974":2120,"_1976":1977},{"_1972":2421,"_1983":2422},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2424},[2425],{"_41":2426,"_1978":59,"_1991":-5,"_708":2427,"_1993":2428,"_1995":2429,"_1997":2430,"_2003":2410,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46272161087729",{"_41":2414,"_54":2415,"_1969":-5,"_56":2416,"_50":2417},{"_1974":2120,"_1976":1977},{"_71":2409,"_825":2410},[2431],{"_797":2000,"_2001":2002},{"_2001":2433},"[\"Page & Screen (p4180)\",\"B|Bestseller|#007C6C (p7858)\",\"BADGE - Best Seller (p7883)\"]",{"_2001":2410},[2436,2439,2443,2446,2448,-5,2450,2452,2455,2458,2461,-5,2463,2465,-5,2467,2470],{"_41":2437,"_2011":2012,"_2013":2014,"_2001":2438},"gid://shopify/Metafield/40870119407857","[{\"contributorId\":1342498,\"fullName\":\"Rachel Reid\",\"jobName\":\"Author\",\"sequenceNumber\":1}]",{"_41":2440,"_2011":2012,"_2013":2441,"_2001":2442},"gid://shopify/Metafield/40870119801073","seriesTitle","Rachel Reid's Game Changers Series",{"_41":2444,"_2011":2012,"_2013":2445,"_2001":2406},"gid://shopify/Metafield/40870119899377","seriesNumber",{"_41":2447,"_2011":2012,"_2013":2018,"_2001":1958},"gid://shopify/Metafield/40870120358129",{"_41":2449,"_2011":2012,"_2013":2021,"_2001":1958},"gid://shopify/Metafield/40870118850801",{"_41":2451,"_2011":2012,"_2013":2024,"_2001":2025},"gid://shopify/Metafield/40870120554737",{"_41":2453,"_2011":2012,"_2013":2028,"_2001":2454},"gid://shopify/Metafield/40870122619121","[{\"id\":\"127398512T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"1\",\"text\":\"\\\"Rachel Reid's hockey heroes are sexy, hot, and passionate! I've devoured this entire series and I love the flirting, the exploration and the delicious discovery!\\\" —#1 New York Times bestselling author Lauren Blakely

“Reid follows up Game Changer with heated, hidden romance full of emotional and physical exploration.” —Library Journal Xpress, starred review for Heated Rivalry

“Sexy, hot, funny and sweet, Heated Rivalry is a game changer in sexy sports romance.” —All About Romance, Best Books of 2019

“Holy hockey, this is an amazingly fun read. It’s enemies-to-lovers with loads (and loads, literally) of sizzling hot hate sex and hot hockey action and it’s all tied up in a helluva sweet slow-burn love story.” —Gay Book Reviews

“There were so many things that made me love this book […] If you love hockey romance, or are just looking for a good, solid read, absolutely put this on your list.” —The Novel Approach

“I loved every moment watching their love grow and develop.” —Joyfully Jay

“This book is amazing.” —Frolic

“I highly recommend this to fans of sports romance, hockey, enemies to lovers, Russian MCs (yum!), sweet HEAs and hot smexy times.” —Open Skye Book Reviews\"},{\"id\":\"121641335T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

Two icy rivals. One steamy secret. This story of two hockey heartthrobs in a secret relationship is the basis for the hit streaming show of the same name.

\"},{\"id\":\"107627309T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Rachel Reid has always lived in Nova Scotia, Canada, and will likely continue to do so. She has two boring degrees and two interesting sons. She has been a hockey fan since childhood, but sadly never made it to the NHL herself. She enjoys books about hot men doing hot things, and cool ladies being awesome. You can follow Rachel on Instagram at rachelreidwrites and Twitter @akaRachelReid, and on Goodreads. Her website and blog, where she writes more things, is www.rachelreidwrites.com.\"},{\"id\":\"124231718T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"2\",\"text\":\"Rachel Reid has always lived in Nova Scotia, Canada, and will likely continue to do so. She has two boring degrees and two interesting sons. She has been a hockey fan since childhood, but sadly never made it to the NHL herself. She enjoys books about hot men doing hot things, and cool ladies being awesome. You can follow Rachel on Instagram at rachelreidwrites and Twitter @akaRachelReid, and on Goodreads. Her website and blog, where she writes more things, is www.rachelreidwrites.com.\"},{\"id\":\"108730987T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"3\",\"text\":\"Rachel Reid has always lived in Nova Scotia, Canada, and will likely continue to do so. She has two boring degrees and two interesting sons. She has been a hockey fan since childhood, but sadly never made it to the NHL herself. She enjoys books about hot men doing hot things, and cool ladies being awesome. You can follow Rachel on Instagram at rachelreidwrites and Twitter @akaRachelReid, and on Goodreads. Her website and blog, where she writes more things, is www.rachelreidwrites.com.\"},{\"id\":\"127398513T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"4\",\"text\":\"

Rachel Reid is the New York Times Bestselling author of the Game Changers series, which has been adapted into the smash hit television series, Heated Rivalry. Rachel has always lived in Nova Scotia, Canada, and will likely continue to do so. She has two boring degrees and two interesting kids. She has been a hockey fan since childhood, but sadly never made it to the NHL herself. You can follow Rachel on Instagram at rachelreidwrites. Her website and blog, where she writes more things, is www.rachelreidwrites.com.

\"},{\"id\":\"107627311T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"5\",\"text\":\"Rachel Reid is the New York Times Bestselling author of the Game Changers series, which has been adapted into the smash hit television series, Heated Rivalry. Rachel has always lived in Nova Scotia, Canada, and will likely continue to do so. She has two boring degrees and two interesting kids. She has been a hockey fan since childhood, but sadly never made it to the NHL herself. You can follow Rachel on Instagram at rachelreidwrites. Her website and blog, where she writes more things, is www.rachelreidwrites.com.\"}]",{"_41":2456,"_2011":2012,"_2013":2032,"_2001":2457},"gid://shopify/Metafield/40870121767153","Heated-Rivalry/Rachel-Reid",{"_41":2459,"_2011":2012,"_2013":2036,"_2001":2460},"gid://shopify/Metafield/40870118654193","1129486546",{"_41":2462,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/40870120161521",{"_41":2464,"_2011":2012,"_2013":968,"_2001":2433},"gid://shopify/Metafield/74677972205809",{"_41":2466,"_2011":2012,"_2013":2005,"_2001":2410},"gid://shopify/Metafield/40870117703921",{"_41":2468,"_2011":2100,"_2013":2101,"_2001":2469},"gid://shopify/Metafield/69547177902321","{\"scale_min\":\"1.0\",\"scale_max\":\"5.0\",\"value\":\"4.6\"}",{"_41":2471,"_2011":2100,"_2013":2105,"_2001":2472},"gid://shopify/Metafield/69547177869553","37",{"_1953":1954,"_41":2474,"_71":2475,"_1957":2292,"_825":2476,"_916":2477,"_1961":2478,"_1963":2479,"_1970":2483,"_1978":59,"_1979":2486,"_1985":2489,"_968":-5,"_2005":2498,"_2007":2499},"gid://shopify/Product/9324756402417","The Beatles by Jim Marshall: Live at Candlestick Park 1966","9781797243962","Relive The Beatles’ last live public concert through the eyes of the ultimate rock 'n' roll photographer Jim Marshall. This deluxe volume collects over 150 photos and proof sheets, half of them never before seen.Jim Marshall's photographs of The Beatles' 1966 concert in San Francisco capture a historic convergence: one of the biggest names in music photography and one of the most beloved bands in history. Specially requested as photographer by The Beatles, Marshall immortalized not only the concert itself, but also intimate moments backstage, such as the musicians meeting the Baez sisters and hanging out in the locker room before the show.This definitive collection presents the photographs at large scale and in the rich high-contrast tones Marshall favored. An in-depth essay by music historian Joel Selvin brings the moment to life. Whether you were there at Candlestick Park or wish you had been, this is your chance to see The Beatles as you've never seen them before.EXCLUSIVE WINDOW INTO THE CONCERT: Jim Marshall was the only photographer allowed backstage to photograph The Beatles during the Candlestick Park concert. This book brings you into the historic moment and makes you feel like part of the band.NEVER-BEFORE-SEEN CONTENT: Marshall's photographs from this event have never been published all together in a single book, and half the images were never published at all. Plus, it includes Marshall's proof sheets, from which he selected his iconic shots.PHOTOGRAPHY ICON: Jim Marshall is the great rock 'n' roll photographer, as his images of The Beatles prove. In addition to being a legendary artist, he was a peer, colleague, and friend to musicians, and he documented countless seminal musical moments throughout the 1960s and 1970s.ANNIVERSARY YEAR: August 2026 marks the 60th anniversary of The Beatles' last live public concert. Celebrate by going back in time through these incredible photographs.Perfect for: Beatles fans Jim Marshall fans Music history buffs Photographers and photography book collectors Birthday or any special occasion gift-giving to any devoted Beatlemaniac Anyone looking for a great present for music lovers","Relive The Beatles’ last live public concert through the eyes of the ultimate rock 'n' roll photographer Jim Marshall. This deluxe volume collects over 150 photos and proof sheets, half of them never before seen.

Jim Marshall's photographs of The Beatles' 1966 concert in San Francisco capture a historic convergence: one of the biggest names in music photography and one of the most beloved bands in history. Specially requested as photographer by The Beatles, Marshall immortalized not only the concert itself, but also intimate moments backstage, such as the musicians meeting the Baez sisters and hanging out in the locker room before the show.

This definitive collection presents the photographs at large scale and in the rich high-contrast tones Marshall favored. An in-depth essay by music historian Joel Selvin brings the moment to life. Whether you were there at Candlestick Park or wish you had been, this is your chance to see The Beatles as you've never seen them before.

EXCLUSIVE WINDOW INTO THE CONCERT: Jim Marshall was the only photographer allowed backstage to photograph The Beatles during the Candlestick Park concert. This book brings you into the historic moment and makes you feel like part of the band.

NEVER-BEFORE-SEEN CONTENT: Marshall's photographs from this event have never been published all together in a single book, and half the images were never published at all. Plus, it includes Marshall's proof sheets, from which he selected his iconic shots.

PHOTOGRAPHY ICON: Jim Marshall is the great rock 'n' roll photographer, as his images of The Beatles prove. In addition to being a legendary artist, he was a peer, colleague, and friend to musicians, and he documented countless seminal musical moments throughout the 1960s and 1970s.

ANNIVERSARY YEAR: August 2026 marks the 60th anniversary of The Beatles' last live public concert. Celebrate by going back in time through these incredible photographs.

Perfect for:

Beatles fans
Jim Marshall fans
Music history buffs
Photographers and photography book collectors
Birthday or any special occasion gift-giving to any devoted Beatlemaniac
Anyone looking for a great present for music lovers

",{"_41":2480,"_54":2481,"_56":2482,"_50":1968,"_1969":-5},"gid://shopify/ProductImage/47652322410737","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9781797243962_p0.jpg?v=1768985061",1500,{"_1972":2484},{"_1974":2485,"_1976":1977},"40.0",{"_1972":2487,"_1983":2488},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2490},[2491],{"_41":2492,"_1978":59,"_1991":-5,"_708":2493,"_1993":2494,"_1995":2495,"_1997":2496,"_2003":2476,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46998679257329",{"_41":2480,"_54":2481,"_1969":-5,"_56":2482,"_50":1968},{"_1974":2485,"_1976":1977},{"_71":2475,"_825":2476},[2497],{"_797":2000,"_2001":2002},{"_2001":2476},[2500,-5,-5,2503,2505,-5,2507,2509,2512,2515,2518,-5,-5,2520,-5,-5,2522],{"_41":2501,"_2011":2012,"_2013":2014,"_2001":2502},"gid://shopify/Metafield/61510496616689","[{\"contributorId\":2727285,\"fullName\":\"Amelia Davis\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":175952,\"fullName\":\"Joel Selvin\",\"jobName\":\"Contribution by\",\"sequenceNumber\":2},{\"contributorId\":233712,\"fullName\":\"Jim Marshall\",\"jobName\":\"Photographer\",\"sequenceNumber\":3}]",{"_41":2504,"_2011":2012,"_2013":2018,"_2001":2292},"gid://shopify/Metafield/61510496747761",{"_41":2506,"_2011":2012,"_2013":2021,"_2001":2292},"gid://shopify/Metafield/61510496452849",{"_41":2508,"_2011":2012,"_2013":2024,"_2001":2329},"gid://shopify/Metafield/61510496780529",{"_41":2510,"_2011":2012,"_2013":2028,"_2001":2511},"gid://shopify/Metafield/68974259896561","[{\"id\":\"127750679T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"1\",\"text\":\"“Iconic rock roll photographer Jim Marshall captured not just the electricity onstage that historic day in San Francisco, but also intimate moments backstage.” —Rolling Stone

“Jim Marshall’s pictures capture the group at a pivotal moment, when they are already feeling nostalgia for what they are leaving behind.” —The Guardian

“Marshall transports readers to another time, when the future was brimming with promise and possibility. And The Beatles, as history well knows, were only just getting started.” —Salon

“A terrific collection of photos about a most remarkable night.” —Goldmine\"},{\"id\":\"130227705T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"2\",\"text\":\"\\\"A terrific collection of photos about a most remarkable night.\\\" --Goldmine

\\\"Iconic rock roll photographer Jim Marshall captured not just the electricity onstage that historic day in San Francisco, but also intimate moments backstage.\\\" --Rolling Stone

\\\"Marshall transports readers to another time, when the future was brimming with promise and possibility. And The Beatles, as history well knows, were only just getting started.\\\" --Salon

\\\"Jim Marshall's pictures capture the group at a pivotal moment, when they are already feeling nostalgia for what they are leaving behind.\\\" --The Guardian\"},{\"id\":\"115944259T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Jim Marshall, who died in 2010 at age 74, is widely celebrated as a premier music photographer and pioneer of the genre. His portfolio includes photos of virtually every major musician of his era, not only the icons of rock and roll but also giants of jazz, blues, and country. Annie Leibowitz called him \\\"THE rock and roll photographer.\\\" He was the first photographer to be awarded a Grammy Trustees Award for chronicling music history. Marshall was a legend for both his outsize personality and the way he seemed to disappear when behind his trademark Leica camera, thereby producing some of the most intimate and iconic images in music history.

Amelia Davis is the owner and manager of Jim Marshall Photography LLC. She lives in San Francisco.

Joel Selvin is a longtime music journalist for the San Francisco Chronicle. He is the author of seventeen books.\"},{\"id\":\"130227709T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"2\",\"text\":\"

Jim Marshall, who died in 2010 at age 74, is widely celebrated as a premier music photographer and pioneer of the genre. His portfolio includes photos of virtually every major musician of his era, not only the icons of rock and roll but also giants of jazz, blues, and country. Annie Leibowitz called him \\\"THE rock and roll photographer.\\\" He was the first photographer to be awarded a Grammy Trustees Award for chronicling music history. Marshall was a legend for both his outsize personality and the way he seemed to disappear when behind his trademark Leica camera, thereby producing some of the most intimate and iconic images in music history.

Amelia Davis is the owner and manager of Jim Marshall Photography LLC. She lives in San Francisco.

Joel Selvin is a longtime music journalist for the San Francisco Chronicle. He is the author of seventeen books.

\"}]",{"_41":2513,"_2011":2012,"_2013":2032,"_2001":2514},"gid://shopify/Metafield/61510497042673","The-Beatles-by-Jim-Marshall/Amelia-Davis",{"_41":2516,"_2011":2012,"_2013":2036,"_2001":2517},"gid://shopify/Metafield/61510496321777","1148468022",{"_41":2519,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/61510496714993",{"_41":2521,"_2011":2012,"_2013":2005,"_2001":2476},"gid://shopify/Metafield/61510495371505",{"_41":2523,"_2011":2100,"_2013":2105,"_2001":2347},"gid://shopify/Metafield/86837813969137",{"_1953":1954,"_41":2525,"_71":2526,"_1957":1958,"_825":2527,"_916":2528,"_1961":2529,"_1963":2530,"_1970":2534,"_1978":59,"_1979":2537,"_1985":2540,"_968":2549,"_2005":2551,"_2007":2552},"gid://shopify/Product/9323988910321","The Silver Snarling Trumpet: The Birth of the Grateful Dead-The Lost Manuscript of Robert Hunter","9780306835162","The legendary lost manuscript of Grateful Dead co founder and primary lyricist Robert Hunter, written in the early 1960s—a wry, richly observed, and enlightening remembrance of “the scene” in Palo Alto that gave rise to an incredible partnership of Hunter and Jerry Garcia.“Strange to think back on those days when it was perfectly natural that we all slept on the floor in one small room ... These were the days before practical considerations, matters of ‘importance,’ began to eat our minds. We were all poets and philosophers then, until we began to wonder why we had so few concrete worries and went out to look for some.” So wrote Robert Hunter in The Silver Snarling Trumpet, both a novelistic singular work of art and the missing piece of the Grateful Dead origin story. In these pages, readers are privy to the early days of Hunter, Garcia, and their cohorts, who sit at coffee shops passing around a single cup of bottomless coffee because they lacked the funds for more than one. Follow these truth-seeking souls into the stacks at Kepler’s Books, renting instruments at Swain’s House of Music, and through the countryside on mind-expanding road trips. Witness impromptu jams, inspired intellectual pranks, and a dialogue that is, by turns, amusing and brilliant and outrageous. Hunter shares his impressions of his first gig with Garcia for a college audience, along with descriptions of his most intense dreams and psychedelic explorations. All of it, enlivened by Hunter’s visionary spirit and profound ideas about creativity and collaboration. The lost manuscript is augmented with a Foreword by John Mayer, an Introduction by Dennis McNally, and an Afterword by Brigid Meier, who was part of their scene in the San Francisco Bay Area that served as a bridge from the beatniks to the hippies. Also included is Hunter’s own 1982 assessment of his work—about how he shared it with close confidants but then decided to leave it unpublished. Five years after Hunter’s death, the text has been found, so readers and fans of Hunter’s indelible poetry and song can explore the origin of his genius and his craft.\"An essential document in the Deadhead library.\" —Kirkus \"Deadheads will drink this in.\" —Publishers Weekly","The legendary lost manuscript of Grateful Dead co founder and primary lyricist Robert Hunter, written in the early 1960s—a wry, richly observed, and enlightening remembrance of “the scene” in Palo Alto that gave rise to an incredible partnership of Hunter and Jerry Garcia.

“Strange to think back on those days when it was perfectly natural that we all slept on the floor in one small room ... These were the days before practical considerations, matters of ‘importance,’ began to eat our minds. We were all poets and philosophers then, until we began to wonder why we had so few concrete worries and went out to look for some.”

So wrote Robert Hunter in The Silver Snarling Trumpet, both a novelistic singular work of art and the missing piece of the Grateful Dead origin story. In these pages, readers are privy to the early days of Hunter, Garcia, and their cohorts, who sit at coffee shops passing around a single cup of bottomless coffee because they lacked the funds for more than one.

Follow these truth-seeking souls into the stacks at Kepler’s Books, renting instruments at Swain’s House of Music, and through the countryside on mind-expanding road trips. Witness impromptu jams, inspired intellectual pranks, and a dialogue that is, by turns, amusing and brilliant and outrageous. Hunter shares his impressions of his first gig with Garcia for a college audience, along with descriptions of his most intense dreams and psychedelic explorations. All of it, enlivened by Hunter’s visionary spirit and profound ideas about creativity and collaboration.

The lost manuscript is augmented with a Foreword by John Mayer, an Introduction by Dennis McNally, and an Afterword by Brigid Meier, who was part of their scene in the San Francisco Bay Area that served as a bridge from the beatniks to the hippies. Also included is Hunter’s own 1982 assessment of his work—about how he shared it with close confidants but then decided to leave it unpublished. Five years after Hunter’s death, the text has been found, so readers and fans of Hunter’s indelible poetry and song can explore the origin of his genius and his craft.

\"An essential document in the Deadhead library.\" —Kirkus

\"Deadheads will drink this in.\" —Publishers Weekly",{"_41":2531,"_54":2532,"_56":2533,"_50":2417,"_1969":-5},"gid://shopify/ProductImage/47444514930929","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9780306835162_p0.jpg?v=1782278737",903,{"_1972":2535},{"_1974":2536,"_1976":1977},"21.99",{"_1972":2538,"_1983":2539},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2541},[2542],{"_41":2543,"_1978":59,"_1991":-5,"_708":2544,"_1993":2545,"_1995":2546,"_1997":2547,"_2003":2527,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46996128334065",{"_41":2531,"_54":2532,"_1969":-5,"_56":2533,"_50":2417},{"_1974":2536,"_1976":1977},{"_71":2526,"_825":2527},[2548],{"_797":2000,"_2001":2002},{"_2001":2550},"[\"Our Most Anticipated Books (p10162)\"]",{"_2001":2527},[2553,-5,-5,2556,2558,-5,2560,2562,2565,2568,2571,-5,2573,2575,-5,-5,-5],{"_41":2554,"_2011":2012,"_2013":2014,"_2001":2555},"gid://shopify/Metafield/61496458182897","[{\"contributorId\":217345,\"fullName\":\"Robert Hunter\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":200041,\"fullName\":\"John Mayer\",\"jobName\":\"Foreword by\",\"sequenceNumber\":2},{\"contributorId\":331218,\"fullName\":\"Dennis McNally\",\"jobName\":\"Introduction\",\"sequenceNumber\":3},{\"contributorId\":29503830,\"fullName\":\"Brigid Meier\",\"jobName\":\"Afterword\",\"sequenceNumber\":4}]",{"_41":2557,"_2011":2012,"_2013":2018,"_2001":1958},"gid://shopify/Metafield/61496458313969",{"_41":2559,"_2011":2012,"_2013":2021,"_2001":1958},"gid://shopify/Metafield/61496458051825",{"_41":2561,"_2011":2012,"_2013":2024,"_2001":2025},"gid://shopify/Metafield/61496458346737",{"_41":2563,"_2011":2012,"_2013":2028,"_2001":2564},"gid://shopify/Metafield/61496458772721","[{\"id\":\"122436049T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"1\",\"text\":\"“Very touching and endearing, The Silver Snarling Trumpet is a Menlo Park version of Withnail & I. It reads like a duck down a Roman alleyway, taking in all the graffiti and movie posters, as it embraces the panic and curious certainty of youth, the flights and fancies of friends, even the butts of a few discarded jokes—all before first light dawns on Robert Hunter's intricate, lyrical dream of America.”—Elvis Costello

“This is a gift—a rare, special, and important hand-drawn blueprint by the architect of the dream himself. Discovering just a page of this book would have been enough to rejoice over. That we have hundreds is a reality I’m still trying to get my head around. Time itself has revealed something truly magnificent, and there is beauty to be found on every page.”—John Mayer, from the Foreword

“An essential document in the Deadhead library, and a pleasure to read.”—Kirkus Reviews

\\\"The Silver Snarling Trumpet unfolds in Menlo Park, California, where the aimless college-age Hunter and Jerry Garcia soak in ‘the scene’...and form a folk-guitar duo. Hunter's fond snapshot of an embryonic counterculture is richly observed and rife with vibrant character sketches…. Deadheads will drink this in…\\\"—Publishers Weekly

\\\"The Silver Snarling Trumpet, shelved for years by the band’s lyricist Robert Hunter, is a dreamy elegy for a 1960s Californian youth. ...you can see, too, the seeds of Hunter’s particular talent for images, the inklings of the mind that will one day write 'words from out a silk trombone', and place 'a wishing well with a golden bell / and a bucket hanging clear to Hell' into the lyrics of some of the Dead’s best songs. ... [The book] captures something about youth, what youth feels like and especially felt like then.\\\"

—Daily Telegraph\"},{\"id\":\"107186938T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

The untold origin story of the iconic band, told through the lens of its iconic visionary. If you love hearing straight from the source, look no further, and bonus points if you're a Deadhead.

\"},{\"id\":\"122436050T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"1\",\"text\":\"

Robert Hunter was an American lyricist, singer-songwriter, translator, and poet, best known for his work with the Grateful Dead. As a young man in Palo Alto, he met Jerry Garcia, and the two embarked on a lifelong collaboration. Hunter wrote many of the Dead’s most enduring songs, including “Dark Star,” “Ripple,” and “Terrapin Station.” He is a member of the Songwriters Hall of Fame and the recipient of a Lifetime Achievement Award from the Americana Music Association. He was inducted into the Rock and Roll Hall of Fame along with the Grateful Dead in 1994.

\"},{\"id\":\"115945703T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"2\",\"text\":\"Robert Hunter was an American lyricist, singer-songwriter, translator, and poet, best known for his work with the Grateful Dead. As a young man in Palo Alto, he met Jerry Garcia, and the two embarked on a lifelong collaboration. Hunter wrote many of the Dead’s most enduring songs, including “Dark Star,” “Ripple,” and “Terrapin Station.” He is a member of the Songwriters Hall of Fame and the recipient of a Lifetime Achievement Award from the Americana Music Association. He was inducted into the Rock and Roll Hall of Fame along with the Grateful Dead in 1994.\"},{\"id\":\"124137507T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"3\",\"text\":\"

\"},{\"id\":\"98250169T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"4\",\"text\":\"Robert Hunter was an American lyricist, singer-songwriter, translator, and poet, best known for his work with the Grateful Dead. As a young man in Palo Alto, he met Jerry Garcia, and the two embarked on a lifelong collaboration. Hunter wrote many of the Dead’s most enduring songs, including “Dark Star,” “Ripple,” and “Terrapin Station.” He is a member of the Songwriters Hall of Fame and the recipient of a Lifetime Achievement Award from the Americana Music Association. He was inducted into the Rock and Roll Hall of Fame along with the Grateful Dead in 1994.\"},{\"id\":\"101534276T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"5\",\"text\":\"Robert Hunter was an American lyricist, singer-songwriter, translator, and poet, best known for his work with The Grateful Dead. Born near San Luis Obispo, California, Hunter spent some time in his childhood in foster homes, as a result of his father's abandoning his family, and took refuge in reading and writing. He attended the University of Connecticut for a year before returning to Palo Alto, where he became friends with Jerry Garcia. Garcia and Hunter began a collaboration that lasted through the remainder of Garcia's life.\"}]",{"_41":2566,"_2011":2012,"_2013":2032,"_2001":2567},"gid://shopify/Metafield/61496458608881","The-Silver-Snarling-Trumpet/Robert-Hunter",{"_41":2569,"_2011":2012,"_2013":2036,"_2001":2570},"gid://shopify/Metafield/61496457986289","1145076058",{"_41":2572,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/61496458281201",{"_41":2574,"_2011":2012,"_2013":968,"_2001":2550},"gid://shopify/Metafield/78751811502321",{"_41":2576,"_2011":2012,"_2013":2005,"_2001":2527},"gid://shopify/Metafield/61496457527537",{"_26":74,"_75":10,"_54":2578},"https://www.barnesandnoble.com/blog/fabulous-book-and-vinyl-pairings-for-right-now","Shelves + Soundtracks: Fabulous Book and Vinyl Pairings",{"_33":2581,"_26":1109,"_1100":2582,"_71":2869},"f4a2157799b5",{"_964":2583,"_1111":230,"_101":-5,"_54":2867},[2584,2646,2697,2759,2814],{"_1953":1954,"_41":2585,"_71":2586,"_1957":1958,"_825":2587,"_916":2588,"_1961":2589,"_1963":2590,"_1970":2594,"_1978":59,"_1979":2597,"_1985":2600,"_968":2609,"_2005":2611,"_2007":2612},"gid://shopify/Product/8848545710321","Heartstopper, Volume 5","9781338807486","*Now an acclaimed live-action Netflix series!*Boy meets boy. Boys become friends. Boys fall in love. The bestselling LGBTQ+ graphic novel about life, love, and everything that happens in between: this is the fifth volume of the much-loved Heartstopper series, featuring gorgeous two-color artwork.Nick and Charlie are in love. They’ve finally said those three little words, and Charlie has almost persuaded his mum to let him sleep over at Nick’s house. He wants to take their relationship to the next level... but can he find the confidence he needs? And with Nick going off to university next year, is everything about to change?By Alice Oseman, winner of the YA Book Prize, Heartstopper encompasses all the small moments of Nick and Charlie’s lives that together make up something larger, which speaks to all of us.Contains discussions around mental health and eating disorders, and sexual references.","

*Now an acclaimed live-action Netflix series!*

Boy meets boy. Boys become friends. Boys fall in love. The bestselling LGBTQ+ graphic novel about life, love, and everything that happens in between: this is the fifth volume of the much-loved Heartstopper series, featuring gorgeous two-color artwork.

Nick and Charlie are in love. They’ve finally said those three little words, and Charlie has almost persuaded his mum to let him sleep over at Nick’s house. He wants to take their relationship to the next level... but can he find the confidence he needs? And with Nick going off to university next year, is everything about to change?

By Alice Oseman, winner of the YA Book Prize, Heartstopper encompasses all the small moments of Nick and Charlie’s lives that together make up something larger, which speaks to all of us.

Contains discussions around mental health and eating disorders, and sexual references.

",{"_41":2591,"_54":2592,"_56":2593,"_50":1968,"_1969":-5},"gid://shopify/ProductImage/47623440859377","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9781338807486_p0.jpg?v=1765231408",1333,{"_1972":2595},{"_1974":2596,"_1976":1977},"15.99",{"_1972":2598,"_1983":2599},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2601},[2602],{"_41":2603,"_1978":59,"_1991":-5,"_708":2604,"_1993":2605,"_1995":2606,"_1997":2607,"_2003":2587,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46246692159729",{"_41":2591,"_54":2592,"_1969":-5,"_56":2593,"_50":1968},{"_1974":2596,"_1976":1977},{"_71":2586,"_825":2587},[2608],{"_797":2000,"_2001":2002},{"_2001":2610},"[\"BADGE - Buy One Get One 50% off (p7864)\",\"Buy One, Get One 50% Off Heartstopper Vols 1-5 (p10737)\",\"B|Buy 1, Get 1 50% Off|#DD2A27|#701F15 (p7836)\",\"BookTok (p9299)\"]",{"_2001":2587},[2613,2616,2619,2621,2623,-5,2625,2627,2630,2633,2636,-5,2638,2640,-5,2642,2644],{"_41":2614,"_2011":2012,"_2013":2014,"_2001":2615},"gid://shopify/Metafield/39750641385713","[{\"contributorId\":16480009,\"fullName\":\"Alice Oseman\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":16480009,\"fullName\":\"Alice Oseman\",\"jobName\":\"Illustrator\",\"sequenceNumber\":2}]",{"_41":2617,"_2011":2012,"_2013":2441,"_2001":2618},"gid://shopify/Metafield/39750641811697","Heartstopper Series",{"_41":2620,"_2011":2012,"_2013":2445,"_2001":888},"gid://shopify/Metafield/39750642008305",{"_41":2622,"_2011":2012,"_2013":2018,"_2001":1958},"gid://shopify/Metafield/39750642598129",{"_41":2624,"_2011":2012,"_2013":2021,"_2001":1958},"gid://shopify/Metafield/39750640730353",{"_41":2626,"_2011":2012,"_2013":2024,"_2001":2025},"gid://shopify/Metafield/39750642761969",{"_41":2628,"_2011":2012,"_2013":2028,"_2001":2629},"gid://shopify/Metafield/39750644760817","[{\"id\":\"115706765T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"1\",\"text\":\"

Praise for the Heartstopper series:

New York Times Bestseller

USA Today Bestseller

National Indie Bestseller

American Booksellers Association Indie Next Pick

YALSA Great Graphic Novels Selection

YALSA Quick Pick for Young Adult Readers

★ \\\"Incredibly lovable from start to finish.\\\" -- Kirkus Reviews, starred review

\\\"Oseman allows the characters' relationship to develop in a natural, relatable way, delivering a warm, comfortable story of fledgling love starring two shippable leads.\\\" -- Publishers Weekly

\\\"Realistic yet uplifting, this tale of self-discovery will make readers' hearts skip a beat.\\\" -- School Library Journal

\\\"With all the blushing and awkward glances, it's difficult not to be charmed… The romance and realistic fiction will draw readers into this sweet story.\\\" -- Booklist

\\\"Will win readers with its sweet romance, its queer-friendly storyline, and its light-touch relationship drama… This graphic novel lives up to its heart-stopper title.\\\" -- The Bulletin of the Center for Children's Books

“The queer graphic novel we wished we had at high school.” -- Gay Times

\\\"I was blown away. It's very tender, real, and wholesome. I read each book in one sitting.\\\" -- The Nerd Daily

\\\"Absolutely delightful. Sweet, romantic, kind. Beautifully paced. I loved this book.\\\" -- Rainbow Rowell, author of Carry On

\\\"You'll smile watching Charlie and Nick open up to one another, and sigh as they tiptoe into romance… falling in love doesn’t get more charming than this.\\\" -- Ngozi Ukazu, New York Times bestselling author of Check, Please!

\"},{\"id\":\"91528541T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

The warm and cozy feels are back with Nick and Charlie as Heartstopper continues to thrive on all the underappreciated moments of life and love that make it all worth it.

\"},{\"id\":\"115706766T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"1\",\"text\":\"

Alice Oseman is a critically acclaimed, #1 New York Times bestselling author-illustrator and Emmy Award-winning screenwriter. Alice wrote and illustrated the Heartstopper graphic novels; two Heartstopper novellas, Nick and Charlie and This Winter; and is the author of four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless. She also wrote and executive produced the screen adaptations of Heartstopper. Visit her online at aliceoseman.com.

\"},{\"id\":\"91464966T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"2\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award–winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.\"},{\"id\":\"89240359T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"3\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. She is the creator of the popular Heartstopper series, which is now streaming on Netflix as a live-action TV show. Alice is also the author of four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless. Visit her online at aliceoseman.com.\"},{\"id\":\"115706768T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"4\",\"text\":\"

\"},{\"id\":\"91464964T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"5\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award–winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.\"},{\"id\":\"113166215T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"6\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award-winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.\"}]",{"_41":2631,"_2011":2012,"_2013":2032,"_2001":2632},"gid://shopify/Metafield/39750643974385","Heartstopper-Volume-5/Alice-Oseman",{"_41":2634,"_2011":2012,"_2013":2036,"_2001":2635},"gid://shopify/Metafield/39750640238833","1144168541",{"_41":2637,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/39750642434289",{"_41":2639,"_2011":2012,"_2013":968,"_2001":2610},"gid://shopify/Metafield/39750644924657",{"_41":2641,"_2011":2012,"_2013":2005,"_2001":2587},"gid://shopify/Metafield/39750636994801",{"_41":2643,"_2011":2100,"_2013":2101,"_2001":2469},"gid://shopify/Metafield/69786377027825",{"_41":2645,"_2011":2100,"_2013":2105,"_2001":895},"gid://shopify/Metafield/69786376995057",{"_1953":1954,"_41":2647,"_71":2648,"_1957":2292,"_825":2649,"_916":2650,"_1961":2651,"_1963":2652,"_1970":2655,"_1978":59,"_1979":2657,"_1985":2660,"_968":-5,"_2005":2669,"_2007":2670},"gid://shopify/Product/8853353201905","I Was Born for This","9781338830934","From the bestselling creator of HEARTSTOPPER and LOVELESS, a deeply funny and deeply moving exploration of identity, friendship, and fame. For Angel Rahimi life is about one thing: The Ark -- a boy band that's taking the world by storm. Being part of The Ark's fandom has given her everything she loves -- her friend Juliet, her dreams, her place in the world. Her Muslim family doesn't understand the band's allure -- but Angel feels there are things about her they'll never understand.Jimmy Kaga-Ricci owes everything to The Ark. He's their frontman -- and playing in a band with his mates is all he ever dreamed of doing, even it only amplifies his anxiety. The fans are very accepting that he's trans -- but they also keep shipping with him with his longtime friend and bandmate, Rowan. But Jimmy and Rowan are just friends -- and Rowan has a secret girlfriend the fans can never know about. Dreams don't always turn out the way you think and when Jimmy and Angel are unexpectedly thrust together, they find out how strange and surprising facing up to reality can be.A funny, wise, and heartbreakingly true coming of age novel. I Was Born for This is a stunning reflection of modern teenage life, and the power of believing in something -- especially yourself.","From the bestselling creator of HEARTSTOPPER and LOVELESS, a deeply funny and deeply moving exploration of identity, friendship, and fame.

For Angel Rahimi life is about one thing: The Ark -- a boy band that's taking the world by storm. Being part of The Ark's fandom has given her everything she loves -- her friend Juliet, her dreams, her place in the world. Her Muslim family doesn't understand the band's allure -- but Angel feels there are things about her they'll never understand.

Jimmy Kaga-Ricci owes everything to The Ark. He's their frontman -- and playing in a band with his mates is all he ever dreamed of doing, even it only amplifies his anxiety. The fans are very accepting that he's trans -- but they also keep shipping with him with his longtime friend and bandmate, Rowan. But Jimmy and Rowan are just friends -- and Rowan has a secret girlfriend the fans can never know about. Dreams don't always turn out the way you think and when Jimmy and Angel are unexpectedly thrust together, they find out how strange and surprising facing up to reality can be.

A funny, wise, and heartbreakingly true coming of age novel. I Was Born for This is a stunning reflection of modern teenage life, and the power of believing in something -- especially yourself.

",{"_41":2653,"_54":2654,"_56":2593,"_50":1968,"_1969":-5},"gid://shopify/ProductImage/47625217016049","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9781338830934_p0.jpg?v=1765233103",{"_1972":2656},{"_1974":2120,"_1976":1977},{"_1972":2658,"_1983":2659},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2661},[2662],{"_41":2663,"_1978":59,"_1991":-5,"_708":2664,"_1993":2665,"_1995":2666,"_1997":2667,"_2003":2649,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46251782897905",{"_41":2653,"_54":2654,"_1969":-5,"_56":2593,"_50":1968},{"_1974":2120,"_1976":1977},{"_71":2648,"_825":2649},[2668],{"_797":2000,"_2001":2002},{"_2001":2649},[2671,-5,-5,2674,2676,-5,2678,2680,2683,2686,2689,-5,-5,2691,-5,2693,2695],{"_41":2672,"_2011":2012,"_2013":2014,"_2001":2673},"gid://shopify/Metafield/39985885511921","[{\"contributorId\":16480009,\"fullName\":\"Alice Oseman\",\"jobName\":\"Author\",\"sequenceNumber\":1}]",{"_41":2675,"_2011":2012,"_2013":2018,"_2001":2292},"gid://shopify/Metafield/39985885806833",{"_41":2677,"_2011":2012,"_2013":2021,"_2001":2292},"gid://shopify/Metafield/39985885249777",{"_41":2679,"_2011":2012,"_2013":2024,"_2001":2329},"gid://shopify/Metafield/39985885872369",{"_41":2681,"_2011":2012,"_2013":2028,"_2001":2682},"gid://shopify/Metafield/39985887183089","[{\"id\":\"86246041T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

The creator of Heartstopper is back with a clever and profound story about friendship and self-discovery sans the romance often found in Young Adult novels. I Was Born for This is fresh, funny, and sure to give readers all the feels.

\"},{\"id\":\"99724715T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"2\",\"text\":\"Notes From Your Bookseller

\"},{\"id\":\"115707166T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"

Alice Oseman is a critically acclaimed, #1 New York Times bestselling author-illustrator and Emmy Award-winning screenwriter. Alice wrote and illustrated the Heartstopper graphic novels; two Heartstopper novellas, Nick and Charlie and This Winter; and is the author of four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless. They also wrote and executive produced the Netflix adaptations of Heartstopper. Visit them online at aliceoseman.com.

\"},{\"id\":\"80442662T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"2\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award–winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.\"},{\"id\":\"99724719T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"3\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. She is the creator of the popular Heartstopper series, which is now streaming on Netflix as a live-action TV show. Alice is also the author of four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless. Visit her online at aliceoseman.com.\"},{\"id\":\"115707168T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"4\",\"text\":\"

Alice Oseman is a critically acclaimed, #1 New York Times bestselling author-illustrator and Emmy Award-winning screenwriter. Alice wrote and illustrated the Heartstopper graphic novels; two Heartstopper novellas, Nick and Charlie and This Winter; and is the author of four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless. They also wrote and executive produced the Netflix adaptations of Heartstopper. Visit them online at aliceoseman.com.

\"},{\"id\":\"90749500T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"5\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award–winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.\"},{\"id\":\"113122700T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"6\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award-winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.\"}]",{"_41":2684,"_2011":2012,"_2013":2032,"_2001":2685},"gid://shopify/Metafield/39985886626033","I-Was-Born-for-This/Alice-Oseman",{"_41":2687,"_2011":2012,"_2013":2036,"_2001":2688},"gid://shopify/Metafield/39985885053169","1126808401",{"_41":2690,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/39985885774065",{"_41":2692,"_2011":2012,"_2013":2005,"_2001":2649},"gid://shopify/Metafield/39985883611377",{"_41":2694,"_2011":2100,"_2013":2101,"_2001":2403},"gid://shopify/Metafield/70079482691825",{"_41":2696,"_2011":2100,"_2013":2105,"_2001":2166},"gid://shopify/Metafield/70079482659057",{"_1953":1954,"_41":2698,"_71":2699,"_1957":1958,"_825":2700,"_916":2701,"_1961":2702,"_1963":2703,"_1970":2707,"_1978":59,"_1979":2710,"_1985":2713,"_968":2723,"_2005":2725,"_2007":2726},"gid://shopify/Product/9231109226737","Heartstopper, Volume 6","9781546102441","*New York Times and Sunday Times Bestselling Author**Heartstopper Forever movie coming soon from Netflix*Boy meets boy. Boys become friends. Boys fall in love. The final installment in the bestselling LGBTQ+ graphic novel series about life, love, and everything that happens in between.Everyone in school knows Nick and Charlie. Everyone knows they’re going to be together forever. But Charlie’s busy with his bid to become Head Boy. And while Nick is preparing to leave for college, he’s starting to wonder who he’ll be… without Charlie.Contains discussions around mental health and eating disorders, and sexual references.","

*New York Times and Sunday Times Bestselling Author*

*Heartstopper Forever movie coming soon from Netflix*

Boy meets boy. Boys become friends. Boys fall in love. The final installment in the bestselling LGBTQ+ graphic novel series about life, love, and everything that happens in between.

Everyone in school knows Nick and Charlie. Everyone knows they’re going to be together forever. But Charlie’s busy with his bid to become Head Boy. And while Nick is preparing to leave for college, he’s starting to wonder who he’ll be… without Charlie.

Contains discussions around mental health and eating disorders, and sexual references.

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Praise for the Heartstopper series:

New York Times Bestseller

USA Today Bestseller

National Indie Bestseller

American Booksellers Association Indie Next Pick

YALSA Great Graphic Novels Selection

YALSA Quick Pick for Young Adult Readers

Apple Books Most Anticipated Book of the Summer

\\\"Realistic yet uplifting, this tale of self-discovery will make readers' hearts skip a beat.\\\" -- School Library Journal

\\\"With all the blushing and awkward glances, it's difficult not to be charmed… The romance and realistic fiction will draw readers in to this sweet story.\\\" -- Booklist

\\\"Will win readers with its sweet romance, its queer-friendly storyline, and its light-touch relationship drama… This graphic novel lives up to its heart-stopper title.\\\" -- The Bulletin of the Center for Children's Books

“Another gorgeous graphic novel that you absolutely won’t want to miss... For the millions of fans of this tender and heartfelt series, the next installment will be a highlight of the year.” -- Glamour

\\\"The queer graphic novel we wished we had at high school.\\\" -- Gay Times

\\\"I was blown away. It's very tender, real, and wholesome. I read each book in one sitting.\\\" -- The Nerd Daily

\"},{\"id\":\"131310550T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"2\",\"text\":\"

Praise for the Heartstopper series:

New York Times Bestseller

USA Today Bestseller

National Indie Bestseller

American Booksellers Association Indie Next Pick

YALSA Great Graphic Novels Selection

YALSA Quick Pick for Young Adult Readers

Apple Books Most Anticipated Book of the Summer

\\\"Realistic yet uplifting, this tale of self-discovery will make readers' hearts skip a beat.\\\" -- School Library Journal

\\\"With all the blushing and awkward glances, it's difficult not to be charmed... The romance and realistic fiction will draw readers in to this sweet story.\\\" -- Booklist

\\\"Will win readers with its sweet romance, its queer-friendly storyline, and its light-touch relationship drama... This graphic novel lives up to its heart-stopper title.\\\" -- The Bulletin of the Center for Children's Books

\\\"Another gorgeous graphic novel that you absolutely won't want to miss... For the millions of fans of this tender and heartfelt series, the next installment will be a highlight of the year.\\\" -- Glamour

\\\"The queer graphic novel we wished we had at high school.\\\" -- Gay Times

\\\"I was blown away. It's very tender, real, and wholesome. I read each book in one sitting.\\\" -- The Nerd Daily

\"},{\"id\":\"115459882T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

Nick and Charlie have faced so much together, but with Nick leaving for school and Charlie aiming to become head boy, the two are forced to confront the future in this charming conclusion to the beloved series.

\"},{\"id\":\"115460244T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"1\",\"text\":\"

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Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award-winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.

\"},{\"id\":\"114514987T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"3\",\"text\":\"Scholastic Inc. is a global publishing and education company whose mission is to encourage the intellectual and personal growth of all children, beginning with literacy.

\"},{\"id\":\"114225452T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"4\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award–winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.\"},{\"id\":\"115460246T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"5\",\"text\":\"

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\"}]",{"_41":2744,"_2011":2012,"_2013":2032,"_2001":2745},"gid://shopify/Metafield/58783505023217","Heartstopper-Volume-6/Alice-Oseman",{"_41":2747,"_2011":2012,"_2013":2036,"_2001":2748},"gid://shopify/Metafield/58783503614193","1148360297",{"_41":2750,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/58783504367857",{"_41":2752,"_2011":2012,"_2013":968,"_2001":2724},"gid://shopify/Metafield/61709025378545",{"_41":2754,"_2011":2012,"_2013":2005,"_2001":2700},"gid://shopify/Metafield/58783502401777",{"_41":2756,"_2011":2100,"_2013":2101,"_2001":2469},"gid://shopify/Metafield/83279305146609",{"_41":2758,"_2011":2100,"_2013":2105,"_2001":890},"gid://shopify/Metafield/83279305113841",{"_1953":1954,"_41":2760,"_71":2761,"_1957":2292,"_825":2762,"_916":2763,"_1961":2764,"_1963":2765,"_1970":2768,"_1978":59,"_1979":2770,"_1985":2773,"_968":2782,"_2005":2784,"_2007":2785},"gid://shopify/Product/8848543056113","Loveless","9781338751932","For fans of Love, Simon and I Wish You All the Best, a funny, honest, messy, completely relatable story of a girl who realizes that love can be found in many ways that don't involve sex or romance.From the marvelous author of Heartstopper comes an exceptional YA novel about discovering that it's okay if you don't have sexual or romantic feelings for anyone . . . since there are plenty of other ways to find love and connection.This is the funny, honest, messy, completely relatable story of Georgia, who doesn't understand why she can't crush and kiss and make out like her friends do. She's surrounded by the narrative that dating + sex = love. It's not until she gets to college that she discovers the A range of the LGBTQIA+ spectrum -- coming to understand herself as asexual/aromantic. Disrupting the narrative that she's been told since birth isn't easy -- there are many mistakes along the way to inviting people into a newly found articulation of an always-known part of your identity. But Georgia's determined to get her life right, with the help of (and despite the major drama of) her friends.","For fans of Love, Simon and I Wish You All the Best, a funny, honest, messy, completely relatable story of a girl who realizes that love can be found in many ways that don't involve sex or romance.

From the marvelous author of Heartstopper comes an exceptional YA novel about discovering that it's okay if you don't have sexual or romantic feelings for anyone . . . since there are plenty of other ways to find love and connection.

This is the funny, honest, messy, completely relatable story of Georgia, who doesn't understand why she can't crush and kiss and make out like her friends do. She's surrounded by the narrative that dating + sex = love. It's not until she gets to college that she discovers the A range of the LGBTQIA+ spectrum -- coming to understand herself as asexual/aromantic. Disrupting the narrative that she's been told since birth isn't easy -- there are many mistakes along the way to inviting people into a newly found articulation of an always-known part of your identity. But Georgia's determined to get her life right, with the help of (and despite the major drama of) her friends.

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A deeply human and sincerely heartfelt story from the author of Heartstopper, Loveless is funny, timely, honest and so much more. It's the story of a college student grappling with the narrative she was raised with as she explores what love and connection really means.

\"},{\"id\":\"115705707T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"

Alice Oseman is a critically acclaimed, #1 New York Times bestselling author-illustrator and Emmy Award-winning screenwriter. Alice wrote and illustrated the Heartstopper graphic novels; two Heartstopper novellas, Nick and Charlie and This Winter; and is the author of four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless. They also wrote and executive produced the Netflix adaptations of Heartstopper. Visit them online at aliceoseman.com.

\"},{\"id\":\"73625420T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"2\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award–winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.\"},{\"id\":\"82222904T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"3\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a full-time writer and illustrator. She is the creator of the popular Heartstopper series, which will soon be streaming on Netflix as a live-action TV show. Alice is also the author of four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless. Visit her online at aliceoseman.com.\"},{\"id\":\"113154174T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"4\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award-winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.\"},{\"id\":\"115705712T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"5\",\"text\":\"

\"},{\"id\":\"83266278T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"6\",\"text\":\"Alice Oseman was born in 1994 in Kent, England, and is a #1 New York Times bestselling writer and illustrator. As well as writing and illustrating Heartstopper, Alice is the author of two Heartstopper novellas, Nick and Charlie and This Winter, and four YA novels: Solitaire, Radio Silence, I Was Born for This, and Loveless, winner of the YA Book Prize. She also writes and executive produces the Emmy Award–winning television adaptation of Heartstopper. Visit her online at aliceoseman.com.\"}]",{"_41":2798,"_2011":2012,"_2013":2032,"_2001":2799},"gid://shopify/Metafield/39750508871921","Loveless/Alice-Oseman",{"_41":2801,"_2011":2012,"_2013":2036,"_2001":2802},"gid://shopify/Metafield/39750508118257","1138285683",{"_41":2804,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/39750508478705",{"_41":2806,"_2011":2012,"_2013":968,"_2001":2783},"gid://shopify/Metafield/39750509101297",{"_41":2808,"_2011":2012,"_2013":2005,"_2001":2762},"gid://shopify/Metafield/39750507200753",{"_41":2810,"_2011":2100,"_2013":2101,"_2001":2163},"gid://shopify/Metafield/70087216824561",{"_41":2812,"_2011":2100,"_2013":2105,"_2001":2813},"gid://shopify/Metafield/70087216791793","8",{"_1953":1954,"_41":2815,"_71":2816,"_1957":2292,"_825":2817,"_916":2818,"_1961":2819,"_1963":2820,"_1970":2823,"_1978":59,"_1979":2825,"_1985":2828,"_968":2837,"_2005":2838,"_2007":2839},"gid://shopify/Product/8833869512945","Radio Silence","9780063374324","The second novel by the phenomenally talented Alice Oseman, the author of the million-copy bestselling Heartstopper books--now a major Netflix series.What if everything you set yourself up to be was wrong?Frances has always been a study machine with one goal: elite university. Nothing will stand in her way. Not friends, not a guilty secret--not even the person she is on the inside.But when Frances meets Aled, the shy genius behind her favorite podcast, she discovers a new freedom. He unlocks the door to Real Frances and for the first time she experiences true friendship, unafraid to be herself. Then the podcast goes viral and the fragile trust between them is broken.Caught between who she was and who she longs to be, Frances's dreams come crashing down. Suffocating with guilt, she knows that she has to confront her past...She has to confess why Carys disappeared...Meanwhile at university, Aled is alone, fighting even darker secrets.It's only by facing up to your fears that you can overcome them. And it's only by being your true self that you can find happiness.Frances is going to need every bit of courage she has.A coming-of-age read that tackles issues of identity, the pressure to succeed, diversity, and freedom to choose, Radio Silence is a tour de force by the most exciting writer of her generation.","

The second novel by the phenomenally talented Alice Oseman, the author of the million-copy bestselling Heartstopper books--now a major Netflix series.

What if everything you set yourself up to be was wrong?

Frances has always been a study machine with one goal: elite university. Nothing will stand in her way. Not friends, not a guilty secret--not even the person she is on the inside.

But when Frances meets Aled, the shy genius behind her favorite podcast, she discovers a new freedom. He unlocks the door to Real Frances and for the first time she experiences true friendship, unafraid to be herself. Then the podcast goes viral and the fragile trust between them is broken.

Caught between who she was and who she longs to be, Frances's dreams come crashing down. Suffocating with guilt, she knows that she has to confront her past...

She has to confess why Carys disappeared...

Meanwhile at university, Aled is alone, fighting even darker secrets.

It's only by facing up to your fears that you can overcome them. And it's only by being your true self that you can find happiness.

Frances is going to need every bit of courage she has.

A coming-of-age read that tackles issues of identity, the pressure to succeed, diversity, and freedom to choose, Radio Silence is a tour de force by the most exciting writer of her generation.

",{"_41":2821,"_54":2822,"_56":2116,"_50":1968,"_1969":-5},"gid://shopify/ProductImage/47637023031537","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9780063374324_p0.jpg?v=1765253500",{"_1972":2824},{"_1974":2179,"_1976":1977},{"_1972":2826,"_1983":2827},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2829},[2830],{"_41":2831,"_1978":59,"_1991":-5,"_708":2832,"_1993":2833,"_1995":2834,"_1997":2835,"_2003":2817,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46229834498289",{"_41":2821,"_54":2822,"_1969":-5,"_56":2116,"_50":1968},{"_1974":2179,"_1976":1977},{"_71":2816,"_825":2817},[2836],{"_797":2000,"_2001":2002},{"_2001":2783},{"_2001":2817},[2840,-5,-5,2842,2844,-5,2846,2848,2851,2854,2857,-5,2859,2861,-5,2863,2865],{"_41":2841,"_2011":2012,"_2013":2014,"_2001":2673},"gid://shopify/Metafield/39039361057009",{"_41":2843,"_2011":2012,"_2013":2018,"_2001":2292},"gid://shopify/Metafield/39039361319153",{"_41":2845,"_2011":2012,"_2013":2021,"_2001":2292},"gid://shopify/Metafield/39039360663793",{"_41":2847,"_2011":2012,"_2013":2024,"_2001":2329},"gid://shopify/Metafield/39039361384689",{"_41":2849,"_2011":2012,"_2013":2028,"_2001":2850},"gid://shopify/Metafield/39039362597105","[{\"id\":\"114658062T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"authorName\":null,\"sourceName\":\"From the Publisher\",\"displayOrder\":\"1\",\"text\":\"

Praise for SOLITAIRE: “A fascinating debut from an author to watch.” - ALA Booklist

“Oseman’s debut could put her among the great young adult fiction authors.” - Voice of Youth Advocates (VOYA)

“Tori’s voice makes this story into a poignant yet blackly funny and even lively emotional journey. A deeply absorbing read.” - Bulletin of the Center for Children’s Books

“Oseman proves herself a clever, witty writer.” - Publishers Weekly

“An intense, highly engaging, well–plotted story of relationships, explorations into gay and bisexual identities, family trauma, a straight-jacket education system, and, mostly, kids yearning to be their truest selves despite it all.” - Booklist (starred review)

“Honest and authentic… with appeal to fans of John Green.” - Bookseller (London)

“In [Oseman’s] punky, depressive, epigrammatic, mordant heroine Tori Spring we have a Holden Caulfield for the internet age.” - The Times (London)

“Intrigue, suspense, and a fairly spectacular climax will appeal to teens asking the big questions.” - ALA Booklist

“Keenly intelligent. A smart, timely outing.” - Kirkus Reviews

“Oseman is a master at combining sardonic wit with angst to create believable characters and a compelling contemporary story that will resonate with teens. VERDICT: A top pick for any YA collection.” - School Library Journal

“Oseman vividly illustrates that the world and its technologies offer opportunities for connection and fulfillment that go far beyond traditional definitions of success.” - Publishers Weekly (starred review)

\"},{\"id\":\"92030132T\",\"type\":\"Bookseller Content\",\"linkText\":\"B&N Says\",\"typeId\":\"1027\",\"abbr\":\"BSC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"Notes From Your Bookseller

From the mind behind Heartstopper, Radio Silence is a touching coming-of-age story featuring a diverse cast and that same unforgettable narrative voice that makes Alice Oseman such a treasure.

\"},{\"id\":\"118551820T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"

Alice Oseman is an award-winning author, illustrator, and screenwriter. Alice is the creator of LGBTQ+ YA romance comic Heartstopper, and the writer, creator, and executive producer for the Emmy Award-winning television adaptation for Netflix, produced by See-Saw. Alice has written every episode and been involved at every stage, from casting to music. Alice is the author of several YA contemporary novels about teenage disasters: Solitaire (published when she was 19), Radio Silence, I Was Born for This, and Loveless (a New York Times bestseller). Alice’s books have won, been shortlisted, or nominated for a number of awards, including the YA Book Prize, the Inky Awards, the Carnegie Medal, and the Goodreads Choice Awards. Alice was named the Attitude Person of the Year 2023, and The British Book Awards Illustrator of the Year.

\"},{\"id\":\"114658063T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"2\",\"text\":\"

\"},{\"id\":\"48284463T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"3\",\"text\":\"Alice Oseman is an award—winning author, illustrator, and screenwriter. Alice is the creator of LGBTQ+ YA romance comic Heartstopper, and the writer, creator, and executive producer for the Emmy Award—winning television adaptation for Netflix, produced by See—Saw. Alice has written every episode and been involved at every stage, from casting to music. Alice is the author of several YA contemporary novels about teenage disasters: Solitaire (published when she was 19), Radio Silence, I Was Born for This, and Loveless (a New York Times bestseller). Alice’s books have won, been shortlisted, or nominated for a number of awards, including the YA Book Prize, the Inky Awards, the Carnegie Medal, and the Goodreads Choice Awards. Alice was named the Attitude Person of the Year 2023, and The British Book Awards Illustrator of the Year.

\"},{\"id\":\"68314611T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"4\",\"text\":\"Alice Oseman is an award—winning author, illustrator, and screenwriter. Alice is the creator of LGBTQ+ YA romance comic Heartstopper, and the writer, creator, and executive producer for the Emmy Award—winning television adaptation for Netflix, produced by See—Saw. Alice has written every episode and been involved at every stage, from casting to music. Alice is the author of several YA contemporary novels about teenage disasters: Solitaire (published when she was 19), Radio Silence, I Was Born for This, and Loveless (a New York Times bestseller). Alice’s books have won, been shortlisted, or nominated for a number of awards, including the YA Book Prize, the Inky Awards, the Carnegie Medal, and the Goodreads Choice Awards. Alice was named the Attitude Person of the Year 2023, and The British Book Awards Illustrator of the Year.

\"},{\"id\":\"108242654T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"5\",\"text\":\"

Alice Oseman is an award-winning author, illustrator, and screenwriter. Alice is the creator of LGBTQ+ YA romance comic Heartstopper, and the writer, creator, and executive producer for the Emmy Award-winning television adaptation for Netflix, produced by See-Saw. Alice has written every episode and been involved at every stage, from casting to music. Alice is the author of several YA contemporary novels about teenage disasters: Solitaire (published when she was 19), Radio Silence, I Was Born for This, and Loveless (a New York Times bestseller). Alice's books have won, been shortlisted, or nominated for a number of awards, including the YA Book Prize, the Inky Awards, the Carnegie Medal, and the Goodreads Choice Awards. Alice was named the Attitude Person of the Year 2023, and The British Book Awards Illustrator of the Year.

\"}]",{"_41":2852,"_2011":2012,"_2013":2032,"_2001":2853},"gid://shopify/Metafield/39039362105585","Radio-Silence/Alice-Oseman",{"_41":2855,"_2011":2012,"_2013":2036,"_2001":2856},"gid://shopify/Metafield/39039360401649","1121731505",{"_41":2858,"_2011":2012,"_2013":2040,"_2001":2041},"gid://shopify/Metafield/39039361253617",{"_41":2860,"_2011":2012,"_2013":968,"_2001":2783},"gid://shopify/Metafield/39039362826481",{"_41":2862,"_2011":2012,"_2013":2005,"_2001":2817},"gid://shopify/Metafield/39039358796017",{"_41":2864,"_2011":2100,"_2013":2101,"_2001":2469},"gid://shopify/Metafield/69033199108337",{"_41":2866,"_2011":2100,"_2013":2105,"_2001":894},"gid://shopify/Metafield/69033199075569",{"_26":74,"_75":10,"_54":2868},"https://www.barnesandnoble.com/blog/life-love-reading-alice-oseman","Life & Love: Reading Alice Oseman",{"_33":2871,"_26":1109,"_1100":2872,"_71":3160},"964c3400dfda",{"_964":2873,"_1111":230,"_101":-5,"_54":3158},[2874,2932,2990,3052,3104],{"_1953":1954,"_41":2875,"_71":2876,"_1957":1958,"_825":2877,"_916":2878,"_1961":2879,"_1963":2880,"_1970":2884,"_1978":59,"_1979":2887,"_1985":2890,"_968":2899,"_2005":2901,"_2007":2902},"gid://shopify/Product/8829523591409","The Great Gatsby","9780743273565","The only authorized edition of the twentieth-century classic, featuring F. Scott Fitzgerald’s final revisions, a foreword by his granddaughter, and a new introduction by National Book Award winner Jesmyn Ward. Nominated as one of America’s best-loved novels by PBS’s The Great American Read.The Great Gatsby, F. Scott Fitzgerald’s third book, stands as the supreme achievement of his career. First published in 1925, this quintessential novel of the Jazz Age has been acclaimed by generations of readers. The story of the mysteriously wealthy Jay Gatsby and his love for the beautiful Daisy Buchanan, of lavish parties on Long Island at a time when The New York Times noted “gin was the national drink and sex the national obsession,” it is an exquisitely crafted tale of America in the 1920s.","The only authorized edition of the twentieth-century classic, featuring F. Scott Fitzgerald’s final revisions, a foreword by his granddaughter, and a new introduction by National Book Award winner Jesmyn Ward.

Nominated as one of America’s best-loved novels by PBS’s The Great American Read.

The Great Gatsby, F. Scott Fitzgerald’s third book, stands as the supreme achievement of his career. First published in 1925, this quintessential novel of the Jazz Age has been acclaimed by generations of readers.

The story of the mysteriously wealthy Jay Gatsby and his love for the beautiful Daisy Buchanan, of lavish parties on Long Island at a time when The New York Times noted “gin was the national drink and sex the national obsession,” it is an exquisitely crafted tale of America in the 1920s.",{"_41":2881,"_54":2882,"_56":2883,"_50":1968,"_1969":-5},"gid://shopify/ProductImage/48061511008497","https://cdn.shopify.com/s/files/1/0674/5433/7265/files/9780743273565_p0.jpg?v=1771080981",1312,{"_1972":2885},{"_1974":2886,"_1976":1977},"17.0",{"_1972":2888,"_1983":2889},{"_1974":1982,"_1976":1977},{"_1974":1982,"_1976":1977},{"_1987":2891},[2892],{"_41":2893,"_1978":59,"_1991":-5,"_708":2894,"_1993":2895,"_1995":2896,"_1997":2897,"_2003":2877,"_71":2002,"_2004":-5},"gid://shopify/ProductVariant/46224794026225",{"_41":2881,"_54":2882,"_1969":-5,"_56":2883,"_50":1968},{"_1974":2886,"_1976":1977},{"_71":2876,"_825":2877},[2898],{"_797":2000,"_2001":2002},{"_2001":2900},"[\"Classroom Literature & Nonfiction (p5500)\",\"B|Bestseller|#007C6C (p7858)\",\"The Books You've Always Meant to Read (p10565)\",\"Celebrate the United States Semiquincentennial (p10659)\",\"BADGE - Best Seller (p7883)\"]",{"_2001":2877},[2903,-5,-5,2906,2908,-5,2910,2912,2915,2918,2921,-5,2923,2925,-5,2927,2929],{"_41":2904,"_2011":2012,"_2013":2014,"_2001":2905},"gid://shopify/Metafield/38823504969969","[{\"contributorId\":148678,\"fullName\":\"F. Scott Fitzgerald\",\"jobName\":\"Author\",\"sequenceNumber\":1}]",{"_41":2907,"_2011":2012,"_2013":2018,"_2001":1958},"gid://shopify/Metafield/38823505297649",{"_41":2909,"_2011":2012,"_2013":2021,"_2001":1958},"gid://shopify/Metafield/38823504675057",{"_41":2911,"_2011":2012,"_2013":2024,"_2001":2025},"gid://shopify/Metafield/38823505363185",{"_41":2913,"_2011":2012,"_2013":2028,"_2001":2914},"gid://shopify/Metafield/38823506116849","[{\"id\":\"3030345T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"1\",\"text\":\"

The Great Gatsby

By F. Scott Fitzgerald

Scribner

Copyright © 1925 Charles Scribner's Sons
All right reserved.
ISBN: 0-743-24639-X

Chapter One

In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since.

\\\"Whenever you feel like criticizing anyone,\\\" he told me, \\\"just remember that all the people in this world haven't had the advantages that you've had.\\\"

He didn't say any more but we've always been unusually communicative in a reserved way and I understood that he meant a great deal more than that. In consequence I'm inclined to reserve all judgements, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores. The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person, and so it came about that in college I was unjustly accused of being a politician, because I was privy to the secret griefs of wild, unknown men. Most of the confidences were unsought - frequently I have feigned sleep, preoccupation or a hostile levity when I realized by some unmistakable sign that an intimate revelation was quivering on the horizon - for the intimate revelations of young men or at least the terms in which they express them are usually plagiaristic and marred by obvious suppressions. Reserving judgements is a matter of infinite hope. I am still a little afraid of missing something if I forget that, as my father snobbishly suggested and I snobbishly repeat, a sense of the fundamental decencies is parcelled out unequally at birth.

And, after boasting this way of my tolerance, I come to the admission that it has a limit. Conduct may be founded on the hard rock or the wet marshes but after a certain point I don't care what it's founded on. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction - Gatsby who represented everything for which I have an unaffected scorn. If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away. This responsiveness had nothing to do with that flabby impressionability which is dignified under the name of the \\\"creative temperament\\\" - it was an extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again. No - Gatsby turned out all right at the end; it is what preyed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men.

My family have been prominent, well-to-do people in this middle-western city for three generations. The Carraways are something of a clan and we have a tradition that we're descended from the Dukes of Buccleuch, but the actual founder of my line was my grandfather's brother who came here in fifty-one, sent a substitute to the Civil War and started the wholesale hardware business that my father carries on today.

I never saw this great-uncle but I'm supposed to look like him - with special reference to the rather hard-boiled painting that hangs in Father's office. I graduated from New Haven in 1915, just a quarter of a century after my father, and a little later I participated in that delayed Teutonic migration known as the Great War. I enjoyed the counter-raid so thoroughly that I came back restless. Instead of being the warm center of the world the middle-west now seemed like the ragged edge of the universe - so I decided to go east and learn the bond business. Everybody I knew was in the bond business so I supposed it could support one more single man. All my aunts and uncles talked it over as if they were choosing a prep-school for me and finally said \\\"Why - ye-es\\\" with very grave, hesitant faces. Father agreed to finance me for a year and after various delays I came east, permanently, I thought, in the spring of twenty-two.

The practical thing was to find rooms in the city but it was a warm season and I had just left a country of wide lawns and friendly trees, so when a young man at the office suggested that we take a house together in a commuting town it sounded like a great idea. He found the house, a weather beaten cardboard bungalow at eighty a month, but at the last minute the firm ordered him to Washington and I went out to the country alone. I had a dog, at least I had him for a few days until he ran away, and an old Dodge and a Finnish woman who made my bed and cooked breakfast and muttered Finnish wisdom to herself over the electric stove.

It was lonely for a day or so until one morning some man, more recently arrived than I, stopped me on the road.

\\\"How do you get to West Egg Village?\\\" he asked helplessly.

I told him. And as I walked on I was lonely no longer. I was a guide, a pathfinder, an original settler. He had casually conferred on me the freedom of the neighborhood.

And so with the sunshine and the great bursts of leaves growing on the trees - just as things grow in fast movies - I had that familiar conviction that life was beginning over again with the summer.

There was so much to read for one thing and so much fine health to be pulled down out of the young breath-giving air. I bought a dozen volumes on banking and credit and investment securities and they stood on my shelf in red and gold like new money from the mint, promising to unfold the shining secrets that only Midas and Morgan and Maecenas knew. And I had the high intention of reading many other books besides. I was rather literary in college - one year I wrote a series of very solemn and obvious editorials for the \\\"Yale News\\\" - and now I was going to bring back all such things into my life and become again that most limited of all specialists, the \\\"well-rounded\\\" man. This isn't just an epigram - life is much more successfully looked at from a single window, after all.

It was a matter of chance that I should have rented a house in one of the strangest communities in North America. It was on that slender riotous island which extends itself due east of New York and where there are, among other natural curiosities, two unusual formations of land. Twenty miles from the city a pair of enormous eggs, identical in contour and separated only by a courtesy bay, jut out into the most domesticated body of salt water in the Western Hemisphere, the great wet barnyard of Long Island Sound. They are not perfect ovals - like the egg in the Columbus story they are both crushed fiat at the contact end - but their physical resemblance must be a source of perpetual confusion to the gulls that fly over-head. To the wingless a more arresting phenomenon is their dissimilarity in every particular except shape and size.

I lived at West Egg, the - well, the less fashionable of the two, though this is a most superficial tag to express the bizarre and not a little sinister contrast between them. My house was at the very tip of the egg, only fifty yards from the Sound, and squeezed between two huge places that rented for twelve or fifteen thousand a season. The one on my right was a colossal affair by any standard - it was a factual imitation of some Hôtel de Ville in Normandy, with a tower on one side, spanking new under a thin beard of raw ivy, and a marble swimming pool and more than forty acres of lawn and garden. It was Gatsby's mansion. Or rather, as I didn't know Mr. Gatsby it was a mansion inhabited by a gentleman of that name. My own house was an eye-sore, but it was a small eye-sore and it had been overlooked, so I had a view of the water, a partial view of my neighbor's lawn and the consoling proximity of millionaires - all for eighty dollars a month.

Across the courtesy bay the white places of fashionable East Egg glittered along the water and the history of the summer really begins on the evening I drove over there to have dinner with the Tom Buchanans. Daisy was my second cousin once removed and I'd known Tom in college. And just after the war I spent two days with them in Chicago.

Her husband, among various physical accomplishments, had been one of the most powerful ends that ever played football at New Haven - a national figure in a way, one of those men who reach such an acute limited excellence at twenty-one that everything afterwards savours of anti-climax. His family were enormously wealthy - even in college his freedom with money was a matter for reproach - but now he'd left Chicago and come east in a fashion that rather took your breath away: for instance he'd brought down a string of polo ponies from Lake Forest. It was hard to realize that a man in my own generation was wealthy enough to do that.

Why they came east I don't know. They had spent a year in France, for no particular reason, and then drifted here and there unrestfully wherever people played polo and were rich together. This was a permanent move, said Daisy over the telephone, but I didn't believe it - I had no sight into Daisy's heart but I felt that Tom would drift on forever seeking a little wistfully for the dramatic turbulence of some irrecoverable football game.

And so it happened that on a warm windy evening I drove over to East Egg to see two old friends whom I scarcely knew at all. Their house was even more elaborate than I expected, a cheerful red and white Georgian Colonial mansion overlooking the bay. The lawn started at the beach and ran toward the front door for a quarter of a mile, jumping over sun-dials and brick walks and burning gardens - finally when it reached the house drifting up the side in bright vines as though from the momentum of its run. The front was broken by a line of French windows, glowing now with reflected gold, and wide open to the warm windy afternoon, and Tom Buchanan in riding clothes was standing with his legs apart on the front porch.

He had changed since his New Haven years. Now he was a sturdy, straw haired man of thirty with a rather hard mouth and a supercilious manner. Two shining, arrogant eyes had established dominance over his face and gave him the appearance of always leaning aggressively forward. Not even the effeminate swank of his riding clothes could hide the enormous power of that body - he seemed to fill those glistening boots until he strained the top lacing and you could see a great pack of muscle shifting when his shoulder moved under his thin coat. It was a body capable of enormous leverage - a cruel body.

His speaking voice, a gruff husky tenor, added to the impression of fractiousness he conveyed. There was a touch of paternal contempt in it, even toward people he liked - and there were men at New Haven who had hated his guts.

\\\"Now, don't think my opinion on these matters is final,\\\" he seemed to say, \\\"just because I'm stronger and more of a man than you are.\\\" We were in the same Senior Society and while we were never intimate I always had the impression that he approved of me and wanted me to like him with some harsh, defiant wistfulness of his own.

We talked for a few minutes on the sunny porch.

\\\"I've got a nice place here,\\\" he said, his eyes flashing about restlessly.

Turning me around by one arm he moved a broad flat hand along the front vista, including in its sweep a sunken Italian garden, a half acre of deep pungent roses and a snub-nosed motor boat that bumped the tide off shore.

\\\"It belonged to Demaine the oil man.\\\" He turned me around again, politely and abruptly. \\\"We'll go inside.\\\"

We walked through a high hallway into a bright rosy-colored space, fragilely bound into the house by French windows at either end. The windows were ajar and gleaming white against the fresh grass outside that seemed to grow a little way into the house. A breeze blew through the room, blew curtains in at one end and out the other like pale flags, twisting them up toward the frosted wedding cake of the ceiling - and then rippled over the wine-colored rug, making a shadow on it as wind does on the sea.

The only completely stationary object in the room was an enormous couch on which two young women were buoyed up as though upon an anchored balloon. They were both in white and their dresses were rippling and fluttering as if they had just been blown back in after a short flight around the house. I must have stood for a few moments listening to the whip and snap of the curtains and the groan of a picture on the wall. Then there was a boom as Tom Buchanan shut the rear windows and the caught wind died out about the room and the curtains and the rugs and the two young women ballooned slowly to the floor.

The younger of the two was a stranger to me. She was extended full length at her end of the divan, completely motionless and with her chin raised a little as if she were balancing something on it which was quite likely to fall. If she saw me out of the corner of her eyes she gave no hint of it - indeed I was almost surprised into murmuring an apology for having disturbed her by coming in.

The other girl, Daisy, made an attempt to rise - she leaned slightly forward with a conscientious expression - then she laughed, an absurd, charming little laugh, and I laughed too and came forward into the room.

\\\"I'm p-paralyzed with happiness.\\\"

She laughed again, as if she said something very witty, and held my hand for a moment, looking up into my face, promising that there was no one in the world she so much wanted to see. That was a way she had. She hinted in a murmur that the surname of the balancing girl was Baker. (I've heard it said that Daisy's murmur was only to make people lean toward her; an irrelevant criticism that made it no less charming.)

At any rate Miss Baker's lips fluttered, she nodded at me almost imperceptibly and then quickly tipped her head back again - the object she was balancing had obviously tottered a little and given her something of a fright. Again a sort of apology arose to my lips. Almost any exhibition of complete self sufficiency draws a stunned tribute from me.

I looked back at my cousin who began to ask me questions in her low, thrilling voice. It was the kind of voice that the ear follows up and down as if each speech is an arrangement of notes that will never be played again.

Continues...

Excerpted from The Great Gatsby by F. Scott Fitzgerald Copyright © 1925 by Charles Scribner's Sons. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

\"},{\"id\":\"126483206T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"2\",\"text\":\"from the INTRODUCTION by Malcolm Bradbury

“The uncertainties of 1919 were over – there seemed little doubt about what was going to happen – America was going on the greatest, gaudiest spree in history and there was going to be plenty to tell about it. The whole golden boom was in the air – its splendid generosities, its outrageous corruptions and the tortuous death struggle of the old America in prohibition. All the stories that came into my head had a touch of disaster in them.” --F. Scott Fitzgerald, “Early Success” (1937)

No writer ever set out more determinedly to capture and condense in fiction the tone, the style, the spirit, the noise, the excitement, the hope and the despair of his own decade than Francis Scott Key Fitzgerald. The decade was, of course, the American 1920s—the era when, in the wake of the Great War, the United States became modern and a leading world power, and in an era of economic boom and unprecedented change the nation entered on what Fitzgerald himself tagged the “greatest, gaudiest spree in history.” The great, gaudy spree was not merely something that Fitzgerald observed and then wrote about. Beside his flamboyant wife Zelda, herself a Fitzgerald flapper heroine and the obvious source for the headstrong new women who populate his five novels and his many short stories, Fitzgerald went on to live out the times as a great and glorious spectacle. He gave himself so thoroughly to the task, that it all became personal; on behalf of Ameicans at large, Fitzgerald publicly performed the Twenties. From the moment when his first novel, This Side of Paradise, came out in 1920, just as the new decade started, to win immediate success because it seemed so exactly to voice the spirit, hopes and anxieties of the new post-war generation, he became a cultural icon, an embodiment of what was happening. “I who knew less of New York than any reporter of six months standing and less of its society than any hall-room boy in a Ritz stag line, was pushed into the position not only of spokesman for the time but of the typical product of the same moment,” he noted later. So it was Fitzgerald who ensured that the more frankly sexual and independent young men-women of this golden age were known as “flappers,” and that the age itself acquired, from the sound of its most novel and freewheeling music, the title of “the jazz age.” It was he who could be counted on to bring to fiction the new songs and dances, the new hairstyles, the new manners and mores of dating and petting, the glitz of the new urban amusements, the style of the decades’ parties, he who could voice the disillusionment of the young with their elders and sense the shifting rhythms of excitement and unease that belonged to a decade that was, more than most, in rapid and modernizing transition and, more than most, in a state of apocalyptic anxiety.

In a famous essay, “The Crack-Up,” written in the mid-1930s when the bubble had burst and his younger generation was no longer young and no longer carelessly wealthy, he summed up this singular identification between writer and times. The historical development of America from the weary decadence of the immediately post-war years, through the rising excitements of growing wealth, change and excess, represented, he said, his own psychic curve. The Great Crash of 1929, when the whole flimsy structure suddenly settled earthward, and the free credit was called in, was the exact analogy of his own and Zelda’s breakdown, when the psychic price was paid. The grim political assessments of the Depression Thirties, when glitter gave way to breadlines and dancing gave way to dustbowl, was the match for his onw bitter and struggling endeavor to put his spiritual and historical house in rder. Unlike some other American writers, who had watched the shift from expatriation in Paris, Fitzgerald had been no distant observer of the great American change. It was nothing less than the story of his own life, his parvenu expectations, his obsession with success, fame, glittering wealth and beauty—and his rising sense of disaster, because he had the steady Calvinistic feeling that for all these amusements and fragile splendours there was an ultimate, and inward, price that would duly have to be paid.

Yet so lovingly had Fitzgerald given himself over to the great gaudy bubble that for a long time the critics doubted him and his works; indeed he came to doubt them himself. They saw him chiefly as a stylish chronicler, a literary popularizer, a writer so thoroughly immersed in the unworthy dreams of an age that, in retrospect, seemed so politically naïve and economically foolish that its discredit often became his. He was a writer who had involved himself so deeply with the themes and dreams, the extravagances and wastes, of an uncriticial age that he never himself found the time or the artistic strength to stand back, to examine, to criticize, and certainly not to produce a fully serious, detached and considered work of art. To a certain point (he acknowledged as much himself), the charges were deserved. No writer was apparently more willing to be taken along by the seductive rhythms of success and popular adulation. None granted more to the special and yet specious wonder of the American rich, the grandees of a time of confident American power, nor fell more readily under the sexual spell of its exotic, expensive and often self-destructive women. None seemed more wasteful of his own evident charm, more careless of his own obvious talent. Much of what he wrote seemed a writing of glitzy surfaces, deliberately designed for impermanence. This story was written, he was happy to suggest, to pay for the champagne at one of his famous and newsworthy parties; that novel was produced at speed to equip Zelda with the expensive squirrel coat that she craved and, since craving had to be satisfied, really had to have. As even his good friend Edmund Wilson, who had discovered his promising talents when both were students at Princeton, once said, “he has been given imagination without intellectual control of it; he has been given the desire for beauty without an aesthetic ideal; and he has been given a gift for expression without many ideas to express.”

This view of Fitzgerald persisted well after his early death from alcoholism in Hollywood in 1940, when he had been doing boring work as a screenwriter and when his reputation had fallen low. In 1951, Arthur Mizener produced an excellent and important biography, The Far Side of Paradise, which, along with other studies of the time, did much to rehabilitate his reputation as one of the great modern American writers. Yet the book takes the form of a Modernist tragedy (indeed, with the suicide of Ernest Hemingway in 1961, it increasingly came to seem that most of the tales of the major American novelists of the 1920s took the shape of a tragedy). Mizener’s version seemed to confirm Fitzgerald’s own dictum that there are no second acts in American lives. His Fitzgerald is an American dreamer who squanders his talents, loses his way, finds himself trapped in an unhappy marriage which was to culminate in Zelda’s final madness, caught in a world of bills, economic and emotional, that proved too great ever to pay. He was a man who admitted himself, using a favorite economic analogy, that all his investments had gone wrong, who had “been drawing on resources that I did not possess, . . . mortgaging myself physically and spiritually up to the hilt.” His writing came from a singular identification with the life of his times – “my material” – but the demands of popular fiction persistently discouraged him from seriousness. In later life his powers cracked, and he became, in Hemingway’s famous and condescending phrase, “poor Fitzgerald.” It was a familiar American literary tragedy, the story of the writer who always meant to write something “maybe great,” but granted too much to his own glossy, impermanent culture, and who therefore could never acquire the detachment, the originality, to achieve what his talent and ambitions seemed to promise.

To a considerable extent this still remains the “myth” of Fitzgerald, the myth that sees him as what Lionel Trilling once called him, the “maimed hero” of modern writing. It has encouraged the still very common view that of the truly important and genuinely radical modern writers—Hemignway, Stein, Faulkner, Dos Passos—who emerged in the United States during the remarkable literary decade of the 1920s, when the American novel was totally transformed and when it acquired the dignity and character of a true world literature, Fitzgerald, though of the greatest representative importance, was one of the most profligate and least realized authors of the generation. So, where Hemingway, through style, achieved a pure and hard perfection of modernist prose, and Faulkner and Dos Passos, through complex formal experiment, achieved the experimental radicalism of modernist vision, Fitzgerald was to stay the eternal amateur who never mastered what his talent and imagination offered. It is certainly true that Fitzgerald was one of the less obviously experimental writers of experimental times; but that was largely because he made the first object of his experiment not the literary text, rather life itself in an experimental time which he sought to understand in its contradiction and complexity. For Fitzgerald, style in life and style in art were always to be inextricably interwoven, and his writing is in endless passage from one to the other. It is of course entirely true that, of the many short stories Fitzgerald wrote and indeed lived by, many were slight and trivial. It is also true that, of the five novels he wrote, the first two—This Side of Paradise and The Beautiful and Damned, so popular in their time—were works of youthful charm but indulgent and imperfect method, while the last two –the brilliant Tender Is the Night and the final The Last Tycoon, which were largely disliked in their time—were works of vast ambition that were nonetheless, for different reasons, never truly finished. This, however, still leaves us with a good deal worthy of the highest respect. There remain many remarkable short stories, some cunning and subtle criticism and commentary, of which the once despised “Crack-Up” essays are a distinguished example, and one novel so perfect that it surely stands among the finest of twentieth-century American novels. That book, the book T. S. Elio called “the first step the American novel has taken since Henry James,” the book that in fact offers the most profound and critical summing up we have of the ironies and disorders behind the wonderful glow of the Twenties, the great novel of the American Dream in its modern condition, was The Great Gatsby.

. . .
\"},{\"id\":\"68664673T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":\"PAPERBACK COMMENTARY\",\"displayOrder\":\"3\",\"text\":\"CHAPTER I

In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since.

\\\"Whenever you feel like criticizing anyone,\\\" he told me, \\\"just remember that all the people in this world haven't had the advantages that you've had.\\\"

He didn't say any more, but we've always been unusually communicative in a reserved way, and I understood that he meant a great deal more than that. In consequence, I'm inclined to reserve all judgments, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores. The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person, and so it came about that in college I was unjustly accused of being a politician, because I was privy to the secret griefs of wild, unknown men. Most of the confidences were unsought-frequently I have feigned sleep, preoccupation, or a hostile levity when I realized by some unmistakable sign that an intimate revelation was quivering on the horizon; for the intimate revelations of young men, or at least the terms in which they express them, are usually plagiaristic and marred by obvious suppressions. Reserving judgments is a matter of infinite hope. I am still a little afraid of missing something if I forget that, as my father snobbishly suggested, and I snobbishly repeat, a sense of the fundamental decencies is parcelled out unequally at birth.

And, after boasting this way of my tolerance, I come to the admission that it has a limit. Conduct may be founded on the hard rock or the wet marshes, but after a certain point I don't care what it's founded on. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction-Gatsby, who represented everything for which I have an unaffected scorn. If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away. This responsiveness had nothing to do with that flabby impressionability which is dignified under the name of the \\\"creative temperament\\\"-it was an extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again. No-Gatsby turned out all right at the end; it is what preyed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men.

* * *

My family have been prominent, well-to-do people in this Middle Western city for three generations. The Carraways are something of a clan, and we have a tradition that we're descended from the Dukes of Buccleuch, but the actual founder of my line was my grandfather's brother, who came here in fifty-one, sent a substitute to the Civil War, and started the wholesale hardware business that my father carries on today.

I never saw this great-uncle, but I'm supposed to look like him-with special reference to the rather hard-boiled painting that hangs in father's office. I graduated from New Haven in 1915, just a quarter of a century after my father, and a little later I participated in that delayed Teutonic migration known as the Great War. I enjoyed the counterraid so thoroughly that I came back restless. Instead of being the warm center of the world, the Middle West now seemed like the ragged edge of the universe-so I decided to go East and learn the bond business. Everybody I knew was in the bond business, so I supposed it could support one more single man. All my aunts and uncles talked it over as if they were choosing a prep school for me, and finally said, \\\"Why-ye-es,\\\" with very grave, hesitant faces. Father agreed to finance me for a year, and after various delays I came East, permanently, I thought, in the spring of twenty-two.

The practical thing was to find rooms in the city, but it was a warm season, and I had just left a country of wide lawns and friendly trees, so when a young man at the office suggested that we take a house together in a commuting town, it sounded like a great idea. He found the house, a weather-beaten cardboard bungalow at eighty a month, but at the last minute the firm ordered him to Washington, and I went out to the country alone. I had a dog-at least I had him for a few days until he ran away-and an old Dodge and a Finnish woman, who made my bed and cooked breakfast and muttered Finnish wisdom to herself over the electric stove.

It was lonely for a day or so until one morning some man, more recently arrived than I, stopped me on the road.

\\\"How do you get to West Egg Village?\\\" he asked helplessly.

I told him. And as I walked on I was lonely no longer. I was a guide, a pathfinder, an original settler. He had casually conferred on me the freedom of the neighborhood.

And so with the sunshine and the great bursts of leaves growing on the trees, just as things grow in fast movies, I had that familiar conviction that life was beginning over again with the summer.

There was so much to read, for one thing, and so much fine health to be pulled down out of the young breath-giving air. I bought a dozen volumes on banking and credit and investment securities, and they stood on my shelf in red and gold like new money from the mint, promising to unfold the shining secrets that only Midas and Morgan and M¾cenas knew. And I had the high intention of reading many other books besides. I was rather literary in college-one year I wrote a series of very solemn and obvious editorials for the Yale News-and now I was going to bring back all such things into my life and become again that most limited of all specialists, the \\\"well-rounded man.\\\" This isn't just an epigram-life is much more successfully looked at from a single window, after all.

It was a matter of chance that I should have rented a house in one of the strangest communities in North America. It was on that slender riotous island which extends itself due east of New York-and where there are, among other natural curiosities, two unusual formations of land. Twenty miles from the city a pair of enormous eggs, identical in contour and separated only by a courtesy bay, jut out into the most domesticated body of salt water in the Western hemisphere, the great wet barnyard of Long Island Sound. They are not perfect ovals-like the egg in the Columbus story, they are both crushed flat at the contact end-but their physical resemblance must be a source of perpetual confusion to the gulls that fly overhead. To the wingless a more arresting phenomenon is their dissimilarity in every particular except shape and size.

I lived at West Egg, the-well, the less fashionable of the two, though this is a most superficial tag to express the bizarre and not a little sinister contrast between them. My house was at the very tip of the egg, only fifty yards from the Sound, and squeezed between two huge places that rented for twelve or fifteen thousand a season. The one on my right was a colossal affair by any standard-it was a factual imitation of some H™tel de Ville in Normandy, with a tower on one side, spanking new under a thin beard of raw ivy, and a marble swimming-pool, and more than forty acres of lawn and garden. It was Gatsby's mansion. Or, rather, as I didn't know Mr. Gatsby, it was a mansion inhabited by a gentleman of that name. My own house was an eyesore, but it was a small eyesore, and it had been overlooked, so I had a view of the water, a partial view of my neighbor's lawn, and the consoling proximity of millionaires-all for eighty dollars a month.

Across the courtesy bay the white palaces of fashionable East Egg glittered along the water, and the history of the summer really begins on the evening I drove over there to have dinner with the Tom Buchanans. Daisy was my second cousin once removed, and I'd known Tom in college. And just after the war I spent two days with them in Chicago.

Her husband, among various physical accomplishments, had been one of the most powerful ends that ever played football at New Haven-a national figure in a way, one of those men who reach such an acute limited excellence at twenty-one that everything afterward savors of anticlimax. His family were enormously wealthy-even in college his freedom with money was a matter for reproach-but now he'd left Chicago and come East in a fashion that rather took your breath away; for instance, he'd brought down a string of polo ponies from Lake Forest. It was hard to realize that a man in my own generation was wealthy enough to do that.

Why they came East I don't know. They had spent a year in France for no particular reason, and then drifted here and there unrestfully wherever people played polo and were rich together. This was a permanent move, said Daisy over the telephone, but I didn't believe it-I had no sight into Daisy's heart, but I felt that Tom would drift on forever seeking, a little wistfully, for the dramatic turbulence of some irrecoverable football game.

And so it happened that on a warm windy evening I drove over to East Egg to see two old friends whom I scarcely knew at all. Their house was even more elaborate than I expected, a cheerful red-and-white Georgian Colonial mansion, overlooking the bay. The lawn started at the beach and ran toward the front door for a quarter of a mile, jumping over sun-dials and brick walks and burning gardens-finally when it reached the house drifting up the side in bright vines as though from the momentum of its run. The front was broken by a line of French windows, glowing now with reflected gold and wide open to the warm windy afternoon, and Tom Buchanan in riding clothes was standing with his legs apart on the front porch.

He had changed since his New Haven years. Now he was a sturdy straw-haired man of thirty with a rather hard mouth and a supercilious manner. Two shining arrogant eyes had established dominance over his face and gave him the appearance of always leaning aggressively forward. Not even the effeminate swank of his riding clothes could hide the enormous power of that body-he seemed to fill those glistening boots until he strained the top lacing, and you could see a great pack of muscle shifting when his shoulder moved under his thin coat. It was a body capable of enormous leverage-a cruel body.

His speaking voice, a gruff husky tenor, added to the impression of fractiousness he conveyed. There was a touch of paternal contempt in it, even toward people he liked-and there were men at New Haven who had hated his guts.

\\\"Now, don't think my opinion on these matters is final,\\\" he seemed to say, \\\"just because I'm stronger and more of a man than you are.\\\" We were in the same senior society, and while we were never intimate I always had the impression that he approved of me and wanted me to like him with some harsh, defiant wistfulness of his own.

We talked for a few minutes on the sunny porch.

\\\"I've got a nice place here,\\\" he said, his eyes flashing about restlessly.

Turning me around by one arm, he moved a broad flat hand along the front vista, including in its sweep a sunken Italian garden, a half-acre of deep, pungent roses, and a snub-nosed motor-boat that bumped the tide offshore.

\\\"It belonged to Demaine, the oilman.\\\" He turned me around again, politely and abruptly. \\\"We'll go inside.\\\"

We walked through a high hallway into a bright rosy-colored space, fragilely bound into the house by French windows at either end. The windows were ajar and gleaming white against the fresh grass outside that seemed to grow a little way into the house. A breeze blew through the room, blew curtains in at one end and out the other like pale flags, twisting them up toward the frosted wedding-cake of the ceiling, and then rippled over the wine-colored rug, making a shadow on it as wind does on the sea.

The only completely stationary object in the room was an enormous couch on which two young women were buoyed up as though upon an anchored balloon. They were both in white, and their dresses were rippling and fluttering as if they had just been blown back in after a short flight around the house. I must have stood for a few moments listening to the whip and snap of the curtains and the groan of a picture on the wall. Then there was a boom as Tom Buchanan shut the rear windows and the caught wind died out about the room, and the curtains and the rugs and the two young women ballooned slowly to the floor.

The younger of the two was a stranger to me. She was extended full length at her end of the divan, completely motionless, and with her chin raised a little, as if she were balancing something on it which was quite likely to fall. If she saw me out of the corner of her eye she gave no hint of it-indeed, I was almost surprised into murmuring an apology for having disturbed her by coming in.

The other girl, Daisy, made an attempt to rise-she leaned slightly forward with a conscientious expression-then she laughed, an absurd, charming little laugh, and I laughed too and came forward into the room.

\\\"I'm p-paralyzed with happiness.\\\"

\"},{\"id\":\"3366530T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"authorName\":null,\"sourceName\":null,\"displayOrder\":\"4\",\"text\":\"

CHAPTER I

In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since.

\\\"Whenever you feel like criticizing anyone,\\\" he told me, \\\"just remember that all the people in this world haven't had the advantages that you've had.\\\"

* * *

My family have been prominent, well-to-do people in this Middle Western city for three generations. The Carraways are something of a clan, and we have a tradition that weÕre descended from the Dukes of Buccleuch, but the actual founder of my line was my grandfatherÕs brother, who came here in fifty-one, sent a substitute to the Civil War, and started the wholesale hardware business that my father carries on today.

Helen Bernstein Book Award for Excellence in Journalism

Helen Bernstein Book Award for Excellence in Journalism