#1 NEW YORK TIMES BESTSELLER • NOW A NETFLIX ORIGINAL SERIES With a career, a boyfriend, and a loving family, Piper Kerman barely resembles the reckless young woman who delivered a suitcase of drug money ten years before. But that past has caught up with her. Convicted and sentenced to fifteen months at the infamous federal correctional facility in Danbury, Connecticut, the well-heeled Smith College alumna is now inmate #11187–424—one of the millions of people who disappear “down the rabbit hole” of the American penal system. From her first strip search to her final release, Kerman learns to navigate this strange world with its strictly enforced codes of behavior and arbitrary rules. She meets women from all walks of life, who surprise her with small tokens of generosity, hard words of wisdom, and simple acts of acceptance. Heartbreaking, hilarious, and at times enraging, Kerman’s story offers a rare look into the lives of women in prison—why it is we lock so many away and what happens to them when they’re there. Praise for Orange Is the New Black “Fascinating . . . The true subject of this unforgettable book is female bonding and the ties that even bars can’t unbind.”—People (four stars) “I loved this book. It’s a story rich with humor, pathos, and redemption. What I did not expect from this memoir was the affection, compassion, and even reverence that Piper Kerman demonstrates for all the women she encountered while she was locked away in jail. I will never forget it.”—Elizabeth Gilbert, author of Eat, Pray, Love “This book is impossible to put down because [Kerman] could be you. Or your best friend. Or your daughter.”—Los Angeles Times “Moving . . . transcends the memoir genre’s usual self-centeredness to explore how human beings can always surprise you.”—USA Today “It’s a compelling awakening, and a harrowing one—both for the reader and for Kerman.”—Newsweek

“The courtroom scenes are sharp and suspenseful, the twists in the plot are unexpected, and the tension ratchets up until we are truly eager to find out what happens.” -New York Times Book Review A Library Journal Best Debut Novel of Spring and Summer 2021 A gripping debut thriller about two young mothers, one shocking murder and a court case that puts them both on trial. When a soldier is found stabbed through the heart at a US Army base, there is no doubt that his wife, Luz, is to blame. But was it an act of self-defense? An attempt to save her infant daughter? Or the cold-blooded murder of an innocent man? Ambitious public defender Abby is determined to win at all costs. As a new mother herself, she wants to keep Luz out of prison and with her daughter. But when the surprises stack up and shocking new evidence emerges, Abby realizes the task proves far more difficult than she suspected and will require a terrible sacrifice. As the trial hurtles toward an outcome no one expects, Abby, Luz and a captivated jury are forced to answer the question that will decide everything—what does it mean to be a good mother? “Lara Bazelon combines a riveting courtroom thriller with a nuanced and thought-provoking examination of gender, race, and justice. Helmed by an intelligent, complex, and flawed protagonist, A Good Mother is a beautifully written debut that kept me turning the pages late into the night.” —Angie Kim, author of Miracle Creek "Sexy, shrewd, and wholly contemporary, A Good Mother takes pitch-perfect characters, a page-whipping plot, and themes about marriage, lust, betrayal, and the juggling of new motherhood plus a hard-driving career and mixes it all into a deeply perceptive legal thriller that made me drop everything else and just READ." —Cathi Hanauer, New York Times bestselling author of Gone, The Bitch in the House and The Bitch Is Back

The Sentences That Create Us draws from the unique insights of over fifty justice-involved contributors and their allies to offer inspiration and resources for creating a literary life in prison. Centering in the philosophy that writers in prison can be as vibrant and capable as writers on the outside, and have much to offer readers everywhere, The Sentences That Create Us aims to propel writers in prison to launch their work into the world beyond the walls, while also embracing and supporting the creative community within the walls. The Sentences That Create Us is a comprehensive resource writers can grow with, beginning with the foundations of creative writing. A roster of impressive contributors including Reginald Dwayne Betts (Felon: Poems), Mitchell S. Jackson (Survival Math), Wilbert Rideau (In the Place of Justice) and Piper Kerman (Orange is the New Black), among many others, address working within and around the severe institutional, emotional, psychological and physical limitations of writing prison through compelling first-person narratives. The book’s authors offer pragmatic advice on editing techniques, pathways to publication, writing routines, launching incarcerated-run prison publications and writing groups, lesson plans from prison educators and next-step resources. Threaded throughout the book is the running theme of addressing lived trauma in writing, and writing’s capacity to support an authentic healing journey centered in accountability and restoration. While written towards people in the justice system, this book can serve anyone seeking hard won lessons and inspiration for their own creative—and human—journey.

Kerman sits in the heart of California's great San Joaquin Valley. First established in 1891 as a train stop for the Southern Pacific Railroad, the town site was originally named Collis Station for the railroad's president, Collis P. Huntington. Even in its earliest days, agriculture was the driving force behind Kerman's economy. Advances in irrigation as well as Kerman's close proximity to two of the region's largest rivers--Kings and San Joaquin--resulted in abundant access to water, attracting farmers and land investors at the start of the 20th century. As the community grew, alfalfa hay, raisins, and dairy products became mainstays in Kerman's agricultural production. By 1910, Kerman had a volunteer fire department, a library, and new businesses. Images of America: Kerman explores the first 80 years of a town that continues to grow and diversify.

Often when you attend conferences you overhear people telling their colleagues about the most exciting workshops they have attended. Here, for your reading and clinical pleasure, is a book that contains just these clinical 'pearls' of wisdom, from the field's leading practitioners.

Contemplating Music is a book for all serious music lovers. Here is the first full-scale of ideas and ideologies in music over the past forty years; a period during which virtually every aspect of music was transformed. With this book, Joesph Kerman establishes the place of music study firmly in the mainstream of modern intellectual history. He treats not only the study of the history of Western art music--with which musicology is tradtionally equated--but also sometimes vexed relations between music history and other fields: music theory and analysis, ethnomusicology, and music criticism. Kerman sees and applauds a change in the study of music towarda critical orientation, As examples, he presents a fascinating vignettes of Bach research in the 1950's and Beethoven studies in the 1960's. He sketched the work of prominent scholars and theorists: Thurston Dart, Charles Rosen, Leonard B. Meyer, Heinrich Schenker, Miltion Babbit, and many others. And he comments on such various subjects as the amazing absorption of Stephen Foster's songs into the cannons of black music, the new intensity of Verdi research, controversies about performance on historical instruments, and the merits and demerits of The New Grove Dictionary of Music and Musicians. Comtemplating Music is fulled with wisdom and trenchant commmentary. It will spark controversy among musicologists of all stripes and will give many musicians and amateurs an entirely new perspective on the world of music.

"LISTEN combines a range of sound-oriented objects, live music, oral history, spoken word performances, and ambient experimental installations to create an immersive and varied listening experience."--

Joseph Kerman is one of the most eminent, wide ranging, and readable of today's writers on music. Admirers of his many books - on musicology, opera, Beethoven, and Elizabethan music - will find much to interest them in this collection of essays, taken from general journals, such as the Hudson Review and the New York Review of Books, as well as more specialized publications.

The death of classical music, the distinguished critic and musicologist Joseph Kerman declares, is “a tired, vacuous concept that will not die.” In this wide-ranging collection of essays and reviews, Kerman examines the ongoing vitality of the classical music tradition, from the days of Guillaume Dufay, John Taverner, and William Byrd to contemporary operas by Philip Glass and John Adams. Here are enlightening investigations of the lives and works of the greatest composers: Bach and his Well-Tempered Clavier, Mozart’s and Beethoven’s piano concertos, Schubert’s songs, Wagner’s and Verdi’s operas. Kerman discusses The Magic Flute as well as productions of the Monteverdi operas in Brooklyn and the Ring in San Francisco and Bayreuth. He also includes remembrances of Maria Callas and Carlos Kleiber that make clear why they were such extraordinary musicians. Kerman argues that predictions—let alone assumptions—of the death of classical music are not a new development but part of a cultural transformation that has long been with us. Always alert to the significance of historical changes, from the invention of music notation to the advent of recording, he proposes that the place to look for renewal of the classical music tradition in America today is in opera—in a flood of new works, the rediscovery of long-forgotten ones, and innovative productions by companies large and small. Written for a general audience rather than for experts, Kerman’s essays invite readers to listen afresh and to engage with his insights into how music works. “His gift is so uncommon as to make one sad,” Alex Ross has said.