"The Complete Bar Writer teaches readers how to prepare for the Multistate Performance Test and the Multistate Essay Exam (and similar bar performance tests and essay exams). Readers learn how to transfer the legal writing knowledge that they learned in law school to the bar exam, and how to build upon that foundation with skills specific to bar exam success. The book also fills gaps in readers' knowledge by teaching legal writing, analysis, and reading-and how to do all of those things under pressure. These skills are useful lawyering skills that readers can use after test day. As readers prepare for the bar exam, they will learn how to approach any MPT problem, no matter what kind of document they're assigned to write; how to evaluate their own practice exams and carry that knowledge forward to do better on their next ones; how to prepare for test day; and how to prepare for things that might go wrong. The Complete Bar Writer meets readers where they are with their legal writing knowledge and ensures they have the skills they need on bar exam day"--

Please note: The second edition of The Complete Legal Writer will be out in August. The Complete Legal Writer lives up to its name, providing everything legal research and writing professors and students need in a textbook, including citation literacy, research skills, writing process, a wide range of legal documents, and more. Using the cutting-edge Genre Discovery Approach, this book teaches students to guide themselves through the process of writing unfamiliar legal document types and thereby prepares students to write independently in upper-level classes and the workplace. To aid in teaching Genre Discovery, the authors provide three exacting samples of each document type covered in the book, a rhetorical analysis of each document type, and specific questions to guide students as they study the samples. The Complete Legal Writer covers document types that are traditionally taught in the first year, such as office memos and appellate briefs, as well as document types taught in upper-level and non-traditional first-year curricula, including trial briefs, demand letters, and employer blog posts. Furthermore, this book covers an essential skill for all legal writing classes: giving and receiving feedback. In addition to explaining how to give feedback to and receive feedback from peers, an important skill given the rise of peer-feedback practices in the LRW classroom, The Complete Legal Writer also covers how to receive and implement feedback from professors and workplace supervisors in order to improve both a particular document and future documents. "The Complete Legal Writer lives up to its name: it presents a comprehensive, fresh, and intuitive approach to teaching legal writing that invites students to confidently and enthusiastically cross the divide between their prior writing experiences and the world of legal writing. By giving students the tools they need to critically examine the documents that lawyers write, the authors'' genre-discovery approach empowers students to meet (and exceed) the expectations of their new reading audience, even when they are faced with the challenge of writing a document they may not have seen before. With the text''s warm tone, humorous touches, and vivid examples, the authors have hit a homerun that will engage faculty and students alike while arming students with skills they will use throughout their professional lives." -- Ruth Ann McKinney, Emerita Professor of Law, University of North Carolina School of Law "This uniquely reader-centered text indeed empowers students to grow into complete legal writers. The authors gently yet firmly guide students through "genre discovery": careful study of sample legal documents, by which students construct for themselves the conceptual frameworks that writers of such documents need. Students thus till the soil, plant seeds of understanding, and harvest their own insights--and thereby enjoy "ground-up" rather than "top-down" learning that is refreshingly autonomous and remarkably effective." -- Craig T. Smith, Assistant Dean for the Writing and Learning Resources Center and Clinical Professor of Law, University of North Carolina School of Law "The Complete Legal Writer promises much and delivers more. The text covers fundamental concepts including legal logic and analysis, research methodology, the writing process, and citation literacy. The overall tone is refreshingly readable and will undoubtedly resonate with students. What sets the text apart is not the wide variety of sample legal documents offered, but its potential to equip students with a method of evaluating all documents/genres using an approach that will prepare them to write and ultimately to practice more effectively. The rhetorical legal genre approach is quite a discovery, and no law library collection would be complete without this book." --Marie Summerlin Hamm, Law Library Journal

From a master teacher and writer, a fully revised and updated edition of the results-oriented approach to legal writing that is clear, that persuades—and that WINS. More than almost any profession, the law has a deserved reputation for opaque, jargon-clogged writing. Yet forceful writing is one of the most potent weapons of legal advocacy. In this new edition of Writing to Win, Steven D. Stark, a former lecturer on law at Harvard Law School, who has inspired thousands of aspiring and practicing lawyers, applies the universal principles of powerful, vigorous prose to the job of making a legal case—and winning it. Writing to Win focuses on the writing of lawyers, not judges, and includes dozens of examples of effective (and ineffective) real-life legal writing—as well as compelling models drawn from advertising, journalism, and fiction. It deals with the challenges lawyers face in writing, from organization to strengthening and editing prose; offers incisive ways of improving arguments; addresses litigation and technical writing in all its forms; and covers the writing attorneys must perform in their daily practice, from email memos to briefs and contracts. Each chapter opens with a succinct set of rules for easy reference. With new sections on client communication and drafting affidavits, as well as updated material throughout, Writing to Win is the most practical and efficacious legal-writing manual available.

A critical evaluation of Philip Roth—the first of its kind—that takes on the man, the myth, and the work Philip Roth is one of the most renowned writers of our time. From his debut, Goodbye, Columbus, which won the National Book Award in 1960, and the explosion of Portnoy's Complaint in 1969 to his haunting reimagining of Anne Frank's story in The Ghost Writer ten years later and the series of masterworks starting in the mid-eighties—The Counterlife, Patrimony, Operation Shylock, Sabbath's Theater, American Pastoral, The HumanStain—Roth has produced some of the great American literature of the modern era. And yet there has been no major critical work about him until now. Here, at last, is the story of Roth's creative life. Roth Unbound is not a biography—though it contains a wealth of previously undisclosed biographical details and unpublished material—but something ultimately more rewarding: the exploration of a great writer through his art. Claudia Roth Pierpont, a staff writer for The New Yorker, has known Roth for nearly a decade. Her carefully researched and gracefully written account is filled with remarks from Roth himself, drawn from their ongoing conversations. Here are insights and anecdotes that will change the way many readers perceive this most controversial and galvanizing writer: a young and unhappily married Roth struggling to write; a wildly successful Roth, after the uproar over Portnoy, working to help writers from Eastern Europe and to get their books known in the West; Roth responding to the early, Jewish—and the later, feminist—attacks on his work. Here are Roth's family, his inspirations, his critics, the full range of his fiction, and his friendships with such figures as Saul Bellow and John Updike. Here is Roth at work and at play. Roth Unbound is a major achievement—a highly readable story that helps us make sense of one of the most vital literary careers of the twentieth and twenty-first centuries.

#1 NEW YORK TIMES BESTSELLER • John Grisham’s newest legal thriller takes you inside a law firm that’s on shaky ground. Mark, Todd, and Zola came to law school to change the world, to make it a better place. But now, as third-year students, these close friends realize they have been duped. They all borrowed heavily to attend a third-tier, for-profit law school so mediocre that its graduates rarely pass the bar exam, let alone get good jobs. And when they learn that their school is one of a chain owned by a shady New York hedge-fund operator who also happens to own a bank specializing in student loans, the three know they have been caught up in The Great Law School Scam. But maybe there's a way out. Maybe there’s a way to escape their crushing debt, expose the bank and the scam, and make a few bucks in the process. But to do so, they would first have to quit school. And leaving law school a few short months before graduation would be completely crazy, right? Well, yes and no ... Pull up a stool, grab a cold one, and get ready to spend some time at The Rooster Bar. Don’t miss John Grisham’s new book, THE EXCHANGE: AFTER THE FIRM!

FORMICHELLI/CIG START RUN COFFEE BA

Praise for The Recipe Writer's Handbook Revised and Expanded "Barbara Ostmann and Jane Baker are experienced food editors who know their stuff. To achieve success, a recipe must be written with impeccable accuracy and unambiguous clarity. The Recipe Writer's Handbook achieves both objectives in full measure."-Irena Chalmers, author and professional food writing lecturer at The Culinary Institute of America "The First Edition of The Recipe Writer's Handbook was a terrific resource, and this revised edition is downright indispensable. It is full of answers to questions about recipe style and substance. Ostmann and Baker have cooked up a delicious addition to any serious food writer's desk."-Mitchell Davis, Director of Publications, The James Beard Foundation "Writing recipes is a tricky business, and anyone who wants to do so successfully should have this book. The tables, glossaries, and charts alone are worth the price, not to mention the authors' generous helpings of good, sound advice."-John Willoughby, coauthor, Thrill of the Grill and How to Cook Meat "The Recipe Writer's Handbook is indispensable in the range and depth of information it offers both the novice and seasoned culinary writer. It contains everything you need to know-all beautifully organized and presented in a handy, easy-to-use format. Ostmann and Baker are masters of their trade!"-Paula Lambert, President of the International Association of Culinary Professionals, founder of the Mozzarella Company, and author of The Cheese Lover's Cookbook and Guide First Edition Nominated for Best Food Book, 1999 World Media Food Awards

A Guardian and New Statesman Book of the Year The setting is a comedy club in a small Israeli town. An audience that has come expecting an evening of amusement instead sees a comedian falling apart on stage; an act of disintegration, a man crumbling, as a matter of choice, before their eyes. They could get up and leave, or boo and whistle and drive him from the stage, if they were not so drawn to glimpse his personal hell. Dovaleh G, a veteran stand-up comic - charming, erratic, repellent - exposes a wound he has been living with for years: a fateful and gruesome choice he had to make between the two people who were dearest to him. A Horse Walks into a Bar is a shocking and breathtaking read. Betrayals between lovers, the treachery of friends, guilt demanding redress. Flaying alive both himself and the people watching him, Dovaleh G provokes both revulsion and empathy from an audience that doesn't know whether to laugh or cry - and all this in the presence of a former childhood friend who is trying to understand why he's been summoned to this performance.

A whimsical, moving novel about a retirement home for literary legends who spar, conjure up new stories, and almost magically change the lives of the people around them. Alfonse Carducci was a literary giant who lived his life to excess—lovers, alcohol, parties, and literary rivalries. But now he's come to the Bar Harbor Home for the Elderly to spend the remainder of his days among kindred spirits: the publishing industry's nearly gone but never forgotten greats. Only now, at the end of his life, does he comprehend the price of appeasing every desire, and the consequences of forsaking love to pursue greatness. For Alfonse has an unshakeable case of writer's block that distresses him much more than his precarious health. Set on the water in one of New England's most beautiful locales, the Bar Harbor Home was established specifically for elderly writers needing a place to live out their golden years—or final days—in understated luxury and surrounded by congenial literary company. A faithful staff of nurses and orderlies surround the writers, and are drawn into their orbit, as they are forced to reckon with their own life stories. Among them are Cecibel Bringer, a young woman who knows first-hand the cost of chasing excess. A terrible accident destroyed her face and her sister in a split-second decision that Cecibel can never forgive, though she has tried to forget. Living quietly as an orderly, refusing to risk again the cost of love, Cecibel never anticipated the impact of meeting her favorite writer, Alfonse Carducci—or the effect he would have on her existence. In Cecibel, Alfonse finds a muse who returns him to the passion he thought he lost. As the words flow from him, weaving a tale taken up by the other residents of the Pen, Cecibel is reawakened to the idea of love and forgiveness. As the edges between story and reality blur, a world within a world is created. It’s a place where the old are made young, the damaged are made whole, and anything is possible….

More than 150 inspired—and inspiring—novelists, poets, playwrights, painters, philosophers, scientists, and mathematicians on how they subtly maneuver the many (self-inflicted) obstacles and (self-imposed) daily rituals to get done the work they love to do. Franz Kafka, frustrated with his living quarters and day job, wrote in a letter to Felice Bauer in 1912, “time is short, my strength is limited, the office is a horror, the apartment is noisy, and if a pleasant, straightforward life is not possible then one must try to wriggle through by subtle maneuvers.” Kafka is one of 161 minds who describe their daily rituals to get their work done, whether by waking early or staying up late; whether by self-medicating with doughnuts or bathing, drinking vast quantities of coffee, or taking long daily walks. Thomas Wolfe wrote standing up in the kitchen, the top of the refrigerator as his desk, dreamily fondling his “male configurations”.... Jean-Paul Sartre chewed on Corydrane tablets (a mix of amphetamine and aspirin), ingesting ten times the recommended dose each day ... Descartes liked to linger in bed, his mind wandering in sleep through woods, gardens, and enchanted palaces where he experienced “every pleasure imaginable.” Here are: Anthony Trollope, who demanded of himself that each morning he write three thousand words (250 words every fifteen minutes for three hours) before going off to his job at the postal service, which he kept for thirty-three years during the writing of more than two dozen books ... Karl Marx ... Woody Allen ... Agatha Christie ... George Balanchine, who did most of his work while ironing ... Leo Tolstoy ... Charles Dickens ... Pablo Picasso ... George Gershwin, who, said his brother Ira, worked for twelve hours a day from late morning to midnight, composing at the piano in pajamas, bathrobe, and slippers.... Here also are the daily rituals of Charles Darwin, Andy Warhol, John Updike, Twyla Tharp, Benjamin Franklin, William Faulkner, Jane Austen, Anne Rice, and Igor Stravinsky (he was never able to compose unless he was sure no one could hear him and, when blocked, stood on his head to “clear the brain”).