#4 on The New York Times' list of The 50 Best Memoirs of the Past 50 Years The New York Times bestselling, hilarious tale of a hardscrabble Texas childhood that Oprah.com calls the best memoir of a generation "Wickedly funny and always movingly illuminating, thanks to kick-ass storytelling and a poet's ear." -Oprah.com The Liars' Club took the world by storm and raised the art of the memoir to an entirely new level, bringing about a dramatic revival of the form. Karr's comic childhood in an east Texas oil town brings us characters as darkly hilarious as any of J. D. Salinger's-a hard-drinking daddy, a sister who can talk down the sheriff at age twelve, and an oft-married mother whose accumulated secrets threaten to destroy them all. This unsentimental and profoundly moving account of an apocalyptic childhood is as "funny, lively, and un-put-downable" (USA Today) today as it ever was.

Lit is about getting drunk and getting sober; becoming a mother by letting go of a mother; learning to write by learning to live. Written with Karr's relentless honesty, unflinching self-scrutiny, and irreverent, lacerating humor, it is a truly electrifying story of how to grow up--as only Mary Karr can tell it.

From Mary Karr comes this gorgeously written, often hilarious story of her tumultuous teens and sexual coming-of-age. Picking up where the bestselling The Liars' Club left off, Karr dashes down the trail of her teen years with customary sass, only to run up against the paralyzing self-doubt of a girl in bloom. Fleeing the thrills and terrors of adolescence, she clashes against authority in all its forms and hooks up with an unforgettable band of heads and bona-fide geniuses. Parts of Cherry will leave you gasping with laughter. Karr assembles a self from the smokiest beginnings, delivering a long- awaited sequel that is both "bawdy and wise" (San Francisco Chronicle).

#4 on The New York Times' list of The 50 Best Memoirs of the Past 50 Years The New York Times bestselling, hilarious tale of a hardscrabble Texas childhood that Oprah.com calls the best memoir of a generation--now with a foreword by Lena Dunham in celebration of its twentieth anniversary "Wickedly funny and always movingly illuminating, thanks to kick-ass storytelling and a poet's ear." --Oprah.com The Liars' Club took the world by storm and raised the art of the memoir to an entirely new level, bringing about a dramatic revival of the form. Karr's comic childhood in an east Texas oil town brings us characters as darkly hilarious as any of J. D. Salinger's--a hard-drinking daddy, a sister who can talk down the sheriff at age twelve, and an oft-married mother whose accumulated secrets threaten to destroy them all. This unsentimental and profoundly moving account of an apocalyptic childhood is as "funny, lively, and un-put-downable" (USA Today) today as it ever was. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,500 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

In her fourth collection of poems, self-described black-belt sinner Mary Karr traces her improbable journey from the inferno of a tormented childhood into a resolutely irreverent Catholicism. Not since Saint Augustine wrote "Give me chastity, Lord--but not yet!" has anyone brought such smart-assed hilarity to a conversion story.

The long awaited sequel to the beloved and bestselling 'The Liars' Club' and 'Cherry' - a memoir about a self-professed 'blackbelt sinner's' descent into the inferno of alcoholism and madness, and her astonishing resurrection. 'If you'd told me, even a year before I start taking my son to church regular that I'd wind up whispering my sins in the confessional or on my knees saying the rosary, I would've laughed myself cockeyed. More likely pastime? Pole dancer. International spy. Drug mule. Assassin.' Mary Karr's prizewinning 'The Liars' Club' chronicled her hardscrabble Texas childhood and sparked a renaissance in memoir, cresting the New York Times bestseller list for more than a year. 'Cherry', her ecstatically reviewed account of a psychedelic adolescence and a moving sexual coming-of-age, followed it into bestsellerdom. Now 'Lit' answers the question asked by thousands of fans: How did Karr make it out of that toxic upbringing to tell her own tale? Karr's longing for a solid family seems secure when her marriage to a handsome, blueblood poet who can quote Shakespeare by the yard produces a blond son they adore. But Karr can't outrun her apocalyptic upbringing. She drinks herself into the same numbness that nearly devoured her charismatic but troubled mother, reaching the brink of suicide. A hair-raising stint in 'The Mental Marriott' with an oddball tribe of gurus and saviors awakens her to the possibility of joy again, and leads her to an unlikely faith. Not since St. Augustine cried, 'Give me chastity, Lord - but not yet!' has a conversion story rung with such dark hilarity. 'Lit' is about getting drunk and getting sober; becoming a mother by letting go of a mother; learning to write by learning to live. This hotly anticipated sequel brings Karr's story full circle; it will endure in the hearts of readers alongside her influential and beloved earlier books. Simply put, it is a triumph.

Credited with sparking the current memoir explosion, Mary Karr's The Liars' Club spent more than a year at the top of the New York Times list. She followed with two other smash bestsellers: Cherry and Lit, which were critical hits as well. For thirty years Karr has also taught the form, winning teaching prizes at Syracuse. (The writing program there produced such acclaimed authors as Cheryl Strayed, Keith Gessen, and Koren Zailckas.) In The Art of Memoir, she synthesizes her expertise as professor and therapy patient, writer and spiritual seeker, recovered alcoholic and "black belt sinner," providing a unique window into the mechanics and art of the form that is as irreverent, insightful, and entertaining as her own work in the genre. Anchored by excerpts from her favorite memoirs and anecdotes from fellow writers' experience, The Art of Memoir lays bare Karr's own process. (Plus all those inside stories about how she dealt with family and friends get told- and the dark spaces in her own skull probed in depth.) As she breaks down the key elements of great literary memoir, she breaks open our concepts of memory and identity, and illuminates the cathartic power of reflecting on the past; anybody with an inner life or complicated history, whether writer or reader, will relate. Joining such classics as Stephen King's On Writing and Anne Lamott's Bird by Bird, The Art of Memoir is an elegant and accessible exploration of one of today's most popular literary forms-a tour de force from an accomplished master pulling back the curtain on her craft.

"The Liars' Club" brought to vivid, indelible life Mary Karr's hardscrabble Texas childhood. "Cherry," her account of her adolescence, "continued to set the literary standard for making the personal universal" ("Entertainment Weekly"). Now Lit follows the self-professed blackbelt sinner's descent into the inferno of alcoholism and madness--and to her astonishing resurrection.

Karr's longing for a solid family seems secure when her marriage to a handsome, Shakespeare-quoting blueblood poet produces a son they adore. But she can't outrun her apocalyptic past. She drinks herself into the same numbness that nearly devoured her charismatic but troubled mother, reaching the brink of suicide. A hair-raising stint in "The Mental Marriott," with an oddball tribe of gurus and saviors, awakens her to the possibility of joy and leads her to an unlikely faith. Not since Saint Augustine cried, "Give me chastity, Lord--but not yet!" has a conversion story rung with such dark hilarity.

"Lit" is about getting drunk and getting sober; becoming a mother by letting go of a mother; learning to write by learning to live. Written with Karr's relentless honesty, unflinching self-scrutiny, and irreverent, lacerating humor, it is a truly electrifying story of how to grow up--as only Mary Karr can tell it.

In her third collection of poetry, Viper Rum, Mary Karr delves into autobiographical subject matter; various beloveds are birthed and buried in these touching lyrics, some of which, as the title suggests, deal with drink:

I cast back to those last years
I drank, alone nights at the kitchen sink,
bathrobed, my head hatching snakes,
while my baby slept in his upstairs cage
and my marriage choked to death

Precise and surprising, Karr's poems "take on the bedevilments of fate and grief with a diabolical edge of their own" (Poetry).

Also included is Karr's controversial and prize-winning essay "Against Decoration," in which she took aim against the verbal ornaments that too often pass for poetry these days-the "new formalism" that elevates form to an end itself.

First published in 1922, "The Waste Land" is T.S. Eliot's masterpiece, and is not only one of the key works of modernism but also one of the greatest poetic achievements of the twentieth century. A richly allusive pilgrimage of spiritual and psychological torment and redemption, Eliot's poem exerted a revolutionary influence on his contemporaries, summoning forth a rich new poetic language, breaking decisively with Romantic and Victorian poetic traditions. Kenneth Rexroth was not alone in calling Eliot "the representative poet of the time, for the same reason that Shakespeare and Pope were of theirs. He articulated the mind of an epoch in words that seemed its most natural expression."

As influential as his verse, T.S. Eliot's criticism also exerted a transformative effect on twentieth-century letter, and this new edition of The Waste Land and Other Writings includes a selection of Eliot's most important essays.

In her new Introduction, Mary Karr dispels some of the myths of the great poem's inaccessibility and sheds fresh light on the ways in which "The Waste Land" illuminates contemporary experience.