A vibrant, deeply human portrait of a woman dedicated to fierce protest against the tyranny of institutions over individuals, by the celebrated author Emma Goldman is the story of a modern radical who took seriously the idea that inner liberation is the first business of social revolution. Her politics, from beginning to end, was based on resistance to that which thwarted the free development of the inner self. The right to stay alive in one's senses, to enjoy freedom of thought and speech, to reject the arbitrary use of power-these were key demands in the many public protest movements she helped mount. Anarchist par excellence, Goldman is one of the memorable political figures of our time, not because of her gift for theory or analysis or even strategy, but because some extraordinary force of life in her burned, without rest or respite, on behalf of human integrity-and she was able to make the thousands of people who, for decades on end, flocked to her lectures, feel intimately connected to the pain inherent in the abuse of that integrity. To hear Emma describe, in language as magnetic as it was illuminating, what the boot felt like on the neck, was to experience the mythic quality of organized oppression. As the women and men in her audience listened to her, the homeliness of their own small lives became invested with a sense of drama that acted as a catalyst for the wild, vagrant hope that things need not always be as they were. All you had to do, she promised, was resist. In time, she herself would become a world-famous symbol for the spirit of resistance to the power of institutional authority over the lone individual. In Emma Goldman, Vivian Gornick draws a surpassingly intimate and insightful portrait of a woman of heroic proportions whose performance on the stage of history did what Tolstoy said a work of art should do: it made people love life more.

A guide to the art of personal writing, by the author of Fierce Attachments and The End of the Novel of Love

All narrative writing must pull from the raw material of life a tale that will shape experience, transform event, deliver a bit of wisdom. In a story or a novel the "I" who tells this tale can be, and often is, an unreliable narrator but in nonfiction the reader must always be persuaded that the narrator is speaking truth.

How does one pull from one's own boring, agitated self the truth-speaker who will tell the story a personal narrative needs to tell? That is the question The Situation and the Story asks--and answers. Taking us on a reading tour of some of the best memoirs and essays of the past hundred years, Gornick traces the changing idea of self that has dominated the century, and demonstrates the enduring truth-speaker to be found in the work of writers as diverse as Edmund Gosse, Joan Didion, Oscar Wilde, James Baldwin, or Marguerite Duras.

This book, which grew out of fifteen years teaching in MFA programs, is itself a model of the lucid inteligence that has made Gornick one of our most admired writers of ninfiction. In it, she teaches us to write by teaching us how to read: how to recognize truth when we hear it in the writing of others and in our own.

Vivian Gornick's relationship with her mother is difficult. At the age of forty-five, she regularly meets her mother for strolls along the streets of Manhattan. Occasionally they'll hit a pleasant stride - fondly recalling a shared nostalgia or chuckling over a mutual disgust - but most often their walks are tinged with contempt, irritation, and rages so white hot her mother will stop strangers on the street and say, 'This is my daughter. She hates me'.

Weaving between their tempestuous present-day jaunts and the author's memories of the past, Gornick traces her lifelong struggle for independence from her mother - from growing up in a blue-collar tenement house in the Bronx in the 1940s, to newlywed grad student, to established journalist - only to discover the many ways in which she is (and always has been) her mother's daughter.

Fierce Attachments is a searingly honest and intimate memoir about coming of age in a big city, and the perpetual bonds that keep us forever linked to our family.

For nearly fifty years, Vivian Gornick's essays, written with her characteristic clarity of perception and vibrant prose, have explored feminism and writing, literature and culture, politics and personal experience. Drawing writing from the course of her career, All That is Given illuminates one of the driving themes behind Gornick's work: that the painful process of understanding one's self is what binds us to the larger world. In these essays, Gornick explores the lives and literature of Alfred Kazin, Mary McCarthy, Diana Trilling, Philip Roth, Joan Didion, and Herman Melville; the cultural impact of Silent Spring and Uncle Tom's Cabin; and the characters you might only find in a New York barber shop or midtown bus terminal. Even more, All That Is Given brings back into print her incendiary essays, first published in the Village Voice, championing the emergence of the women's liberation movement of the 1970s. Alternately crackling with urgency or lucid with insight, the essays in All That Is Given demonstrate one of America's most beloved critics at her best.

For nearly fifty years, Vivian Gornick's essays, written with her characteristic clarity of perception and vibrant prose, have explored feminism and writing, literature and culture, politics and personal experience. Drawing writing from the course of her career, Taking a Long Look illuminates one of the driving themes behind Gornick's work: that the painful process of understanding one's self is what binds us to the larger world. In these essays, Gornick explores the lives and literature of Alfred Kazin, Mary McCarthy, Diana Trilling, Philip Roth, Joan Didion, and Herman Melville; the cultural impact of Silent Spring and Uncle Tom's Cabin; and the characters you might only find in a New York barber shop or midtown bus terminal. Even more, All That Is Given brings back into print her incendiary essays, first published in the Village Voice, championing the emergence of the women's liberation movement of the 1970s. Alternately crackling with urgency or lucid with insight, the essays in Taking a Long Look demonstrate one of America's most beloved critics at her best.

In this deeply etched and haunting memoir, Vivian Gornick tells the story of her lifelong battle with her mother for independence. There have been numerous books about mother and daughter, but none has dealt with this closest of filial relations as directly or as ruthlessly. Gornick's groundbreaking book confronts what Edna O'Brien has called "the prinicpal crux of female despair": the unacknowledged Oedipal nature of the mother-daughter bond.
Born and raised in the Bronx, the daughter of "urban peasants," Gornick grows up in a household dominated by her intelligent but uneducated mother's romantic depression over the early death of her husband. Next door lives Nettie, an attractive widow whose calculating sensuality appeals greatly to Vivian. These women with their opposing models of femininity continue, well into adulthood, to affect Gornick's struggle to find herself in love and in work.
As Gornick walks with her aged mother through the streets of New York, arguing and remembering the past, each wins the reader's admiration: the caustic and clear-thinking daughter, for her courage and tenacity in really talking to her mother about the most basic issues of their lives, and the still powerful and intuitively-wise old woman, who again and again proves herself her daughter's mother.
Unsparing, deeply courageous, "Fierce Attachments "is one of the most remarkable documents of family feeling that has been written, a classic that helped start the memoir boom and remains one of the most moving examples of the genre.

"Before I knew that I was Jewish or a girl I knew that I was a member of the working class." So begins Vivian Gornick's exploration of how the world of socialists, communists, and progressives in the 1940s and 1950s created a rich, diverse world where ordinary men and women felt their lives connected to a larger human project. Now back in print after its initial publication in 1977 and with a new introduction by the author, The Romance of American Communism is a landmark work of new journalism, profiling American Communist Party members and fellow travelers as they joined the Party, lived within its orbit, and left in disillusionment and disappointment as Stalin's crimes became public. From the immigrant Jewish enclaves of the Bronx and Brooklyn and the docks of Puget Sound to the mining towns of Kentucky and the suburbs of Cleveland, over a million Americans found a sense of belonging and an expanded sense of self through collective struggle. They also found social isolation, blacklisting, imprisonment, and shattered hopes. This is their story--an indisputably American story.

Unfinished Business: Notes of a Chronic Re-reader is Vivian Gornick's celebration of passionate reading, of returning again and again to the books that have shaped her at crucial points in her life. In nine essays that traverse literary criticism, memoir, and biography, one of our most celebrated critics writes about the importance of reading - and re-reading - as life progresses. Gornick finds herself in contradictory characters within D. H. Lawrence's Sons and Lovers, assesses womanhood in Colette's The Vagabond and The Shackle, and considers the veracity of memory in Marguerite Duras's The Lover. She revisits Great War novels by J. L. Carr and Pat Barker, uncovers the psychological complexity of Elizabeth Bowen's prose, and soaks in Natalia Ginzburg, "a writer whose work has often made me love life more." After adopting two cats, whose erratic behavior she finds vexing, she discovers Doris Lessing's Particularly Cats. Guided by Gornick's trademark verve and insight, Unfinished Business is a masterful appreciation of literature's power to illuminate our lives from a peerless writer and thinker who "still read[s] to feel the power of Life with a capital L."

"Strongly felt, vigorously written."--"The Women's Review of Books"

"Gornick's portraits demonstrate the driving force behind science."--"The Philadelphia Inquirer"

"Opens the discussion about women's diverse problems and ambitions in science."--"The New York Times Book Review"

"Women in science stir the contemporary imagination. In their hyphenated identity is captured the pain and excitement of a culture struggling to mature."--"The Washington Post"

In this newly revised twenty-fifth anniversary edition, acclaimed writer and journalist Vivian Gornick interviews famous and lesser-known scientists, compares their experiences then and now, and shows that, although not much has changed in the world of science, what is different is women's expectations that they can and will succeed.

Everything from the disparaging comments by Harvard's then-president to government reports and media coverage has focused on the ways in which women supposedly can't do science. Gornick's original interviews show how deep and severe discrimination against women was back then in all scientific fields. Her new interviews, with some of the same women she spoke to twenty-five years ago, provide a fresh description of the hard times and great successes these women have experienced.

Vivian Gornick is the author of nine books and has been nominated for the National Book Award and National Book Critics Circle Award. Her articles have appeared in "The Village Voice "(where she was a staff writer for eight years), "The Nation," "The New York Times Book Review," "The Washington Post," "Los Angeles Times," and "The New Yorker."

Elizabeth Cady Stanton--along with her comrade-in-arms, Susan B. Anthony--was one of the most important leaders of the movement to gain American women the vote. But, as Vivian Gornick argues in this passionate, vivid biographical essay, Stanton is also the greatest feminist thinker of the nineteenth century. Endowed with a philosophical cast of mind large enough to grasp the immensity that women's rights addressed, Stanton developed a devotion to equality uniquely American in character. Her writing and life make clear why feminism as a liberation movement has flourished here as nowhere else in the world.
Born in 1815 into a conservative family of privilege, Stanton was radicalized by her experience in the abolitionist movement. Attending the first international conference on slavery in London in 1840, she found herself amazed when the conference officials refused to seat her because of her sex. At that moment she realized that "In the eyes of the world I was not as I was in my own eyes, I was only a woman." At the same moment she saw what it meant for the American republic to have failed to deliver on its fundamental promise of equality for all. In her last public address, "The Solitude of Self," (delivered in 1892), she argued for women's political equality on the grounds that loneliness is the human condition, and that each citizen therefore needs the tools to fight alone for his or her interests.
Vivian Gornick first encountered "The Solitude of Self" thirty years ago. Of that moment Gornick writes, "I hardly knew who Stanton was, much less what this speech meant in her life, or in our history, but it I can still remember thinking with excitement and gratitude, as I read these words for the first time, eighty years after they were written, 'We are beginning where she left off.' "
"The Solitude of Self" is a profound, distilled meditation on what makes American feminism American from one of the finest critics of our time.

"Writing is a second chance at life," writes Jane McDonnell. "I think all writing constitutes an effort to establish our own meaningfulness, even in the midst of sadness and disappointment." In Living to Tell the Tale, McDonnell draws on this impulse, as well as her own experiences as a writer and teacher of memoir, to give us what should become the definitive book on writing "crisis memoirs" and other kinds of personal narrative. She provides specific techniques and advice to help the writer discover his or her inner voice, recognize and then silence the inner censor, begin a narrative, and develop it with such aids as photographs and documents. Citing many landmark works such as Maxine Hong Kingston?s The Woman Warrior and Frank McCourt's Angela?s Ashes, as well as unpublished writings, McDonnell shows how writers can recreate past experiences through memories, and imaginatively reshape material into the story that needs to be told. Each chapter concludes with exercises to help the writer grapple with particular problems, such as trying to write about experiences that are only partly recalled. McDonnell also offers a list of recommended reading.

• Memoirs such as Mary Karr's The Liars Club (Penguin)?have hit bestseller lists nationwide during the past year, and are of great interest to aspiring writers.

In evoking the joy and pain of the Jewish immigrant experience, Anzia Yezierska has no peer. Her stories and novels, written from the 1920s to the 1960s, immortalized the Jews of New York's Lower East Side and their struggle to escape poverty and to partake of America's promise. How I Found America gathers together all of Yezierska's short fiction: the two collections published during her lifetime--Hungry Hearts and Children of Loneliness--and seven additional tales. Each story is authentic and immediate, as memorable as family history passed from one generation to the next. taken together, they constitute an enduring portrait of a time and a people.

Wasteland is the story of Jacob Braunowitz, a young Jewish man who, tortured by self-doubts and nightmare fears, turns his back on his heritage, his home, and even his name. Guided by a radical sister who is "half like a man and half like a woman" and a wise and compassionate psychiatrist, Jacob makes the arduous journey back to his authentic identity, his family, and his people.