J.M. Coetzee's latest novel, The Schooldays of Jesus, is now available from Viking. Late Essays: 2006-2016 will be available January 2018. J.M. Coetzee: What relationship do I have with my life history? Am I its conscious author, or should I think of myself as simply a voice uttering with as little interference as possible a stream of words welling up from my interior? Arabella Kurtz: One way of thinking about psychoanalysis is to say that it is aimed at setting free the narrative or autobiographical imagination. The Good Story is a fascinating dialogue about psychotherapy and the art of storytelling between a writer with a long-standing interest in moral psychology and a psychotherapist with training in literary studies. Coetzee and Kurtz consider psychotherapy and its wider social context from different perspectives, but at the heart of both of their approaches is a concern with narrative. Working alone, the writer is in control of the story he or she tells. The therapist, on the other hand, collaborates with the patient in developing an account of the patient's life and identity that is both meaningful and true. In a meeting of minds that is illuminating and thought-provoking, the authors discuss both individual psychology and the psychology of the group: the school classroom, gangs and the settler nation, in which the brutal deeds of ancestors are accommodated into a national story. Drawing on great writers like Cervantes and Dostoevsky and psychoanalysts like Freud and Melanie Klein, Coetzee and Kurtz explore the human capacity for self-examination, our wish to tell our own life stories and the resistances we encounter along the way.

One Good Story, That One is a collection steeped in native oral tradition and shot through with Thomas King’s special brand of wit and comic imagination. These highly acclaimed stories conjure up Native and Judeo-Christian myths, present-day pop culture, and literature while mixing in just the right amount of perception and experience.

A girl picks up her colored pencils and starts drawing a story, with frequent input from the narrator, of a Hero and Heroine rescuing the townsfolk of Our Setting, who have been imprisoned in the Dungeon of the Evil Overlord.

From the author of The Misadventures of the Family Fletcher comes an epic cross-country train trip for fans of Dan Santat’s Are We There Yet? and Geoff Rodkey’s The Tapper Twins. Pack your suitcase and climb on board with the Johnston-Fischer family. Sara Johnston-Fischer loves her family, of course. But that doesn’t mean she’s thrilled when her summer plans are upended for a surprise cross-country train trip with her two moms, Mimi and Carol; her younger sister, Ladybug; her older sister, Laurel; and Laurel’s poncho-wearing activist boyfriend, Root. And to make matters worse, one of her moms is writing a tell-all book about the trip . . . and that means allllll, every ridiculous and embarrassing moment of Sara’s life. Sara finds herself crisscrossing the country with a gaggle of wild Texans. As they travel from New Orleans to Chicago to the Grand Canyon and beyond, Sara finds herself changing along with the landscape outside the train windows. And she realizes that she just might go home reinvented.

The story is about a little boy's rise out of the ghetto behind the watchful eye of his uncle. But when his uncle is murdered in the streets by the police his life changed.

Have you ever felt out of place, as though you were living someone else's life? Assistant Bean Counter #1138 has only ever known a world in which numbers reign supreme, but there's a feeling he cannot shake that, deep down, he is more than an accountant. One day, he discovers a magical, mystical place that presents new and tantalizing horizons: a bookstore. For all those who have ever come face to face with their true selves within the pages of a book, this modern parable encourages the dreamers to keep on dreaming until they find the courage to tell their own story—and make it a good one.

"Here he [the author] looks in detail at a dozen rampant and long-lived examples of this vigorous category of contemporary folklore, tracing their historyies, variations, sources, and meanings."--Jacket.

Winner of the Restless Books Prize for New Immigrant Writing, Priyanka Champaneri’s transcendent debut novel brings us inside India’s holy city of Banaras, where the manager of a death hostel shepherds the dying who seek the release of a good death, while his own past refuses to let him go. Banaras, Varanasi, Kashi: India’s holy city on the banks of the Ganges has many names but holds one ultimate promise for Hindus. It is the place where pilgrims come for a good death, to be released from the cycle of reincarnation by purifying fire. As the dutiful manager of a death hostel in Kashi, Pramesh welcomes the dying and assists families bound for the funeral pyres that burn constantly on the ghats. The soul is gone, the body is burnt, the time is past, he tells them. Detach. After ten years in the timeless city, Pramesh can nearly persuade himself that here, there is no past or future. He lives contentedly at the death hostel with his wife, Shobha, their young daughter, Rani, the hostel priests, his hapless but winning assistant, and the constant flow of families with their dying. But one day the past arrives in the lifeless form of a man pulled from the river—a man with an uncanny resemblance to Pramesh. Called “twins” in their childhood village, he and his cousin Sagar are inseparable until Pramesh leaves to see the outside world and Sagar stays to tend the land. After Pramesh marries Shobha, defying his family’s wishes, a rift opens up between the cousins that he has long since tried to forget. Do not look back. Detach. But for Shobha, Sagar’s reemergence casts a shadow over the life she’s built for her family. Soon, an unwelcome guest takes up residence in the death hostel, the dying mysteriously continue to live, and Pramesh is forced to confront his own ideas about death, rebirth, and redemption. Told in lush, vivid detail and with an unforgettable cast of characters, The City of Good Death is a remarkable debut novel of family and love, memory and ritual, and the ways in which we honor the living and the dead. PRAISE FOR THE CITY OF GOOD DEATH “In Champaneri’s ambitious, vivid debut, the dying come to the holy city of Kashi to die a good death that frees them from the burden of reincarnation…. In sharp prose, Champaneri explores the power of stories—those the characters tell themselves, those told about them, and those they believe. . . . This epic, magical story of death teems with life.” —Publishers Weekly “Brimming with characters whose lives overlap and whose stories interweave, Champaneri’s exquisite debut delves into the consequences of the past, and how stories that are told can become reality even when they contain barely a shred of truth. As Pramesh discovers, the bitterness of past wounds can bring hope for redemption and life.” —Bridget Thoreson, Booklist “Lush prose evokes the thick, close atmosphere of Kashi and the intricate religious practices upon which life and death depend. Rumor and superstition hold sway over even the most level-headed people, twisting what’s explainable into something extraordinary—with tragic consequences. . . . The City of Good Death is a breathtaking, unforgettable novel about how remembering the past is just as important as moving on.” —Eileen Gonzalez, Foreword Reviews, Starred Review "Champaneri’s Kashi is teeming and vivid . . . the book frequently charms, and it's as full of humor, warmth, and mystery as Kashi’s own marketplace." —Kirkus Reviews “The City of Good Death is the debut novel of Priyanka Champaneri but it has the confidence of a master storyteller. Drawing on the rich literary traditions of Salman Rushdie and Arundhati Roy, Champaneri’s epic saga will satisfy armchair travelers thirsty for adventure, and sick of looking out their windows.” —Chicago Review of Books "In intricate detail and with remarkable skill, Champaneri writes a powerful tale about the pull of the past and our aching need to understand the mysteries and misunderstandings that thwart our relationships. An atmospheric and immersive debut with a rich cast of characters you won’t soon forget." —Marjan Kamali, author of The Stationery Shop

Sometimes I feel silly. Sometimes I feel like eating pizza for breakfast. Sometimes I feel brave. Sometimes I feel like trying something new... The Feelings Book vibrantly illustrates the wide range of moods we all experience. Kids and adults will appreciate Todd Parr's quirky intelligence as he pays special attention to the ever-changing, sometimes nonsensical emotions that we all feel. Targeted to young children first beginning to read, this book will inspire kids to discuss their multitude of feelings in a kid-friendly, accessible format, told through Parr's trademark bold, bright colors and silly scenes. Along with the four other bestselling Todd Parr picture books, The Feelings Book is designed to encourage early literacy, enhance emotional development, celebrate multiculturalism, and promote character growth.

NAMED ONE OF THE BEST BOOKS OF THE YEAR BY San Francisco Chronicle • Newsweek/The Daily Beast • The Seattle Times • The Economist • Kansas City Star • BookPage On February 14, 1989, Valentine’s Day, Salman Rushdie was telephoned by a BBC journalist and told that he had been “sentenced to death” by the Ayatollah Khomeini. For the first time he heard the word fatwa. His crime? To have written a novel called The Satanic Verses, which was accused of being “against Islam, the Prophet and the Quran.” So begins the extraordinary story of how a writer was forced underground, moving from house to house, with the constant presence of an armed police protection team. He was asked to choose an alias that the police could call him by. He thought of writers he loved and combinations of their names; then it came to him: Conrad and Chekhov—Joseph Anton. How do a writer and his family live with the threat of murder for more than nine years? How does he go on working? How does he fall in and out of love? How does despair shape his thoughts and actions, how and why does he stumble, how does he learn to fight back? In this remarkable memoir Rushdie tells that story for the first time; the story of one of the crucial battles, in our time, for freedom of speech. He talks about the sometimes grim, sometimes comic realities of living with armed policemen, and of the close bonds he formed with his protectors; of his struggle for support and understanding from governments, intelligence chiefs, publishers, journalists, and fellow writers; and of how he regained his freedom. It is a book of exceptional frankness and honesty, compelling, provocative, moving, and of vital importance. Because what happened to Salman Rushdie was the first act of a drama that is still unfolding somewhere in the world every day. Praise for Joseph Anton “A harrowing, deeply felt and revealing document: an autobiographical mirror of the big, philosophical preoccupations that have animated Mr. Rushdie’s work throughout his career.”—Michiko Kakutani, The New York Times “A splendid book, the finest . . . memoir to cross my desk in many a year.”—Jonathan Yardley, The Washington Post “Thoughtful and astute . . . an important book.”—USA Today “Compelling, affecting . . . demonstrates Mr. Rushdie’s ability as a stylist and storytelle. . . . [He] reacted with great bravery and even heroism.”—The Wall Street Journal “Gripping, moving and entertaining . . . nothing like it has ever been written.”—The Independent (UK) “A thriller, an epic, a political essay, a love story, an ode to liberty.”—Le Point (France) “Action-packed . . . in a literary class by itself . . . Like Isherwood, Rushdie’s eye is a camera lens —firmly placed in one perspective and never out of focus.”—Los Angeles Review of Books “Unflinchingly honest . . . an engrossing, exciting, revealing and often shocking book.”—de Volkskrant (The Netherlands) “One of the best memoirs you may ever read.”—DNA (India) “Extraordinary . . . Joseph Anton beautifully modulates between . . . moments of accidental hilarity, and the higher purpose Rushdie saw in opposing—at all costs—any curtailment on a writer’s freedom.”—The Boston Globe