"I've spent every day of the last seven years regretting mine: he left, and I didn't follow. A thousand letters went unanswered, my words like petals in the wind, spinning away into nothing, taking me with them. But now he's back"--Page 4 of cover.

In an astonishing feat of literary detection, one of the most provocative critics of our time and the author of In the Freud Archives and The Purloined Clinic offers an elegantly reasoned meditation on the art of biography. In The Silent Woman, Janet Malcolm examines the biographies of Sylvia Plath to create a book not about Plath’s life but about her afterlife: how her estranged husband, the poet Ted Hughes, as executor of her estate, tried to serve two masters—Plath’s art and his own need for privacy; and how it fell to his sister, Olwyn Hughes, as literary agent for the estate, to protect him by limiting access to Plath’s work. Even as Malcolm brings her skepticism to bear on the claims of biography to present the truth about a life, a portrait of Sylvia Plath emerges that gives us a sense of “knowing” this tragic poet in a way we have never known her before. And she dispels forever the innocence with which most of us have approached the reading of any biography.

1956: When Ivy Jenkins falls pregnant, she is sent in disgrace to St Margaret's: a dark, brooding house for unmarried mothers. Her baby is adopted against her will. Ivy will never leave. Present day: Samantha Harper is a journalist desperate for a break. When she stumbles on a letter from the past, the contents shock and move her. The letter is from a young mother, begging to be rescued from St Margaret's before it is too late. Sam is pulled into the tragic story and discovers a spate of unexplained deaths surrounding the woman and her child. With St Margaret's set for demolition, Sam has only hours to piece together a sixty-year-old mystery before the truth, which lies disturbingly close to home, is lost forever.

First published in 1985, this volume of letters follows Susanna Moodie from her Suffolk girlhood and her experience as an aspiring young writer in London, through her emigration to Upper Canada and five decades of Canadian life. The letters provide a sense of Moodie's literary accomplishments before her emigration, the long, uncertain struggle to develop her career as a writer in the colony, and the brief but intense period of literary activity during which her books were published in Britain and the U.S.

This collection of essays is devoted to last letters : letters sent – or not – to sever a relationship, to mark the end of a phase in one’s life, or letters written by people about to be executed or commit suicide just before their deaths. Conversely, some of the letters analysed are fictional, and still other forms of texts, such as poems, are considered ultimate messages by the authors of the articles. By focussing on various forms of last letters, the contributors aim to define the influence of the epistolary context on endings and to provide an original approach to closure.

"Absorbing . . . a testament to the ways in which narrative truth-telling—from the greatest works of literature to the most intimate family stories—sustains and strengthens us.”—O: The Oprah Magazine In this stunning personal story of growing up in Iran, Azar Nafisi shares her memories of living in thrall to a powerful and complex mother against the backdrop of a country’s political revolution. A girl’s pain over family secrets, a young woman’s discovery of the power of sensuality in literature, the price a family pays for freedom in a country beset by upheaval—these and other threads are woven together in this beautiful memoir as a gifted storyteller once again transforms the way we see the world and “reminds us of why we read in the first place” (Newsday). BONUS: This edition contains a Things I've Been Silent About discussion guide. Praise for Things I've Been Silent About “Deeply felt . . . an affecting account of a family’s struggle.”—New York Times “A gifted storyteller with a mastery of Western literature, Nafisi knows how to use language both to settle scores and to seduce.”—New York Times Book Review “An immensely rewarding and beautifully written act of courage, by turns amusing, tender and obsessively dogged.”—Kirkus Reviews (starred review) “A lyrical, often wrenching memoir.”—People

Books. Love. Friendship. Second chances. All can be found at the Printed Letter Bookshop in the small, charming town of Winsome. One of Madeline Cullen’s happiest childhood memories is of working with her Aunt Maddie in the quaint and cozy Printed Letter Bookshop. But by the time Madeline inherits the shop nearly twenty years later, family troubles and her own bitter losses have hardened Madeline’s heart toward her once-treasured aunt—and the now struggling bookshop left in her care. While Madeline intends to sell the shop as quickly as possible, the Printed Letter’s two employees have other ideas. Reeling from a recent divorce, Janet finds sanctuary within the books and the decadent window displays she creates. Claire, though quieter than her outspoken colleague, feels equally drawn to the daily rhythms of the shop and has found a renewed sense of purpose within its walls. When Madeline’s professional life falls apart, and a handsome gardener upends her life, she questions her plans and her future. Has she been too quick to dismiss her aunt’s beloved shop? And even if she has, the women’s best efforts to save it may be too little, too late. Sweet contemporary romance for book lovers Stand-alone novel Book length: 98,000 words Includes discussion questions and a recommended reading list from the author

She trusted her immense intuition and generous heart--and published the most. Ursula Nordstrom, director of Harper's Department of Books for Boys and Girls from 1940 to 1973, was arguably the single most creative force for innovation in children's book publishing in the United States during the twentieth century. Considered an editor of maverick temperament and taste, her unorthodox vision helped create such classics as Goodnight Moon, Charlotte's Web, Where the Wild Things Are, Harold and the Purple Crayon, and The Giving Tree. Leonard S. Marcus has culled an exceptional collection of letters from the HarperCollins archives. The letters included here are representative of the brilliant correspondence that was instrumental in the creation of some of the most beloved books in the world today. Full of wit and humor, they are immensely entertaining, thought-provoking, and moving in their revelation of the devotion and high-voltage intellect of an incomparably gifted editor, mentor, and publishing visionary.Ursula Nordstrom, director of Harper’s Department of Books for Boys and Girls from 1940 to 1973, was arguably the single most creative force for innovation in children’s book publishing in the United States during the twentieth century. Considered an editor of maverick temperament and taste, her unorthodox vision helped create such classics as Goodnight Moon, Charlotte’s Web, Where the Wild Things Are, Harold and the Purple Crayon, and The Giving Tree. Leonard S. Marcus has culled an exceptional collection of letters from the HarperCollins archives. The letters included here are representative of the brilliant correspondence that was instrumental in the creation of some of the most beloved books in the world today. Full of wit and humor, they are immensely entertaining, thought-provoking, and moving in their revelation of the devotion and high-voltage intellect of an incomparably gifted editor, mentor, and publishing visionary.