Orwell's personal account of his experiences and observations in the Spanish Civil War.

Each year brings a glut of new memoirs, ranging from works by former teachers and celebrity has-beens to disillusioned soldiers and bestselling novelists. In addition to becoming bestsellers in their own right, memoirs have become a popular object of inquiry in the academy and a mainstay in most MFA workshops. Courses in what is now called life-writing study memoir alongside personal essays, diaries, and autobiographies. Memoir: An Introduction proffers a concise history of the genre (and its many subgenres) while taking readers through the various techniques, themes, and debates that have come to characterize the ubiquitous literary form. Its fictional origins are traced to eighteenth-century British novels like Robinson Crusoe and Tom Jones; its early American roots are examined in Benjamin Franklin's Autobiography and eighteenth-century captivity narratives; and its ethical conundrums are considered with analyses of the imbroglios brought on by the questionable claims in Rigoberta Menchu's I, Rigoberta, and more notoriously, James Frey's A Million Little Pieces. Alongside these more traditional literary forms, Couser expands the discussion of memoir to include film with what he calls "documemoir" (exemplified in Nathaniel Kahn's My Architect), and graphic narratives like Art Spiegleman's Maus. In sum, Memoir: An Introduction provides a succinct and comprehensive survey to today's most popular form of life-writing.

Born out of a viral “Shouts & Murmurs” piece in The New Yorker, this darkly humorous, charming, and brilliant graphic memoir, in the tradition of Allie Brosh and Roz Chast, brings the first few years of parenthood to life.

With the wit of a comedian and the observational skills of a sociologist surveying a new subculture, Becky Barnicoat writes about her first few years of parenthood with warmth, sharp insight, and uproarious humor in her debut graphic memoir Cry When the Baby Cries.

Barnicoat’s prose is always relatable, smart, and so funny while discussing everything from how ignoring women’s pain is baked into the practice of obstetrics to the impossibility of putting a child down drowsy but awake while you are permanently drowsy but awake, to the tyranny of gentle parenting, and more.

Barnicoat gives us permission to cry when the baby cries, and also laugh, snort, lie on the floor naked, drool, and revel in a deeply strange new world ruled by a tyrannical tiny leader, growing bigger and more cherished by the day.

This final volume of Charlotte Bronte's letters covers the period from 1852, when she eventually completed Villette, to March 1855, when she died at the early age of 38. Published in January 1853, Villette reflects experiences and moods conveyed with sharp immediacy in the correspondence of the preceding years. In December 1852 one of her most dramatic letters described the crucial event in her private life: Arthur Nicholls's proposal of marriage, when, 'shaking from head to foot' he made her feel 'what it costs a man to declare affection where he doubts response.' Mr Bronte's furious opposition to the match was not overcome until 1854, the year of Charlotte's marriage on 29 June. In the all too few months before her death, she came to love and trust Nicholls, her 'dear boy' and her 'tenderest nurse' during her final illness. The letters in this volume include on the one hand Charlotte's brief curt note to George Smith on his engagement to Elizabeth Blakeway, and on the other a newly discovered letter describing with cheerful briskness Charlotte's purchase of her own wedding trousseau. Complete texts of letters previously published inaccurately or in part provide valuable insight into her other friendships. Those to Elizabeth Gaskell in particular have an important bearing on our interpretation and assessment of her Life of Charlotte, published early in 1857; and the inclusion of Harriet Martineau's angry comments on the Life ('Hallucination!' [Friendship] was never attained.') enhances our understanding of Charlotte's break with Martineau after her review of Villette. The redating of a letter has shown that the long estrangement between Charlotte and her oldest friend, Ellen Nussey, caused by Ellen's hostility to the idea of Charlotte's marriage with Nicholls, lasted without a break from July 1853 until late February 1854. The volume includes some of the touching notes from Charlotte's bereaved husband and father, written in response to condolences on her death. Mrs Gaskell's graphic account of her visit to Haworth in 1853 forms one of the appendices; others provide the texts of fragmentary letters, identify known forgeries, and list addenda and corrigenda for volumes 1 and 2.

Kha bugu iyi yavhudi i neaho mafulufulu, Mufumakadzana wa lunako wa Afrika Tshipembe, Shudufhadzo Musida, u ri anetshela tshiori tsha he a thoma hone; tsha u imba na u tshina na musidzana a ambesaho a bvaho kusini ku vhidzwaho nga la Ha Vhangani, o tangwaho nga lufuno nahone zwihulusa nga mme awe na makhulu wawe.

Zwithu zwo khakhea kha Shudu musi a tshi pfulutshela doroboni ntswa he a do tambudzwa nga vhane a dzhena navho kilasini.

Vhalani uri Shudu o kunda hani matungu awe na dzikhaedu, na uri a vha musidzana, mualuwa, we a guda u difuna ene mune!

Kipling was one of the most popular writers in English, both prose and verse, in the late 19th and early 20th centuries. Henry James famously said of him: "Kipling strikes me personally as the most complete man of genius (as distinct from fine intelligence) that I have ever known." In 1907, he was awarded the Nobel Prize in Literature.