Little Grover can't stop to play as he hurries home: he has to go. His mommy understands, and she accompanies him to the bathroom, where he goes all by himself.
Jason Fried and David Heinemeier Hansson, the authors of the New York Times bestseller Rework, are back with a manifesto to combat all your modern workplace worries and fears.
A Brooklyn kid hustles his way to the top of a sports marketing and memorabilia empire Brandon Steiner went from a kid who sat in the nosebleed seats at Yankee and Shea Stadiums to CEO of Steiner Sports Marketing Inc., one of the largest sports marketing and memorabilia companies in the United States, with an inventory of more than 10,000 collectibles. You Gotta Have Balls details Steiner's multiple entrepreneurial adventures, where he has both learned and taught others his fair share of "rules." Along the way, he developed some of the most innovative approaches to business—methods that many of today's companies would be wise to observe and employ themselves. You Gotta Have Balls follows Steiner on his pathway to success by demonstrating the business philosophies that allowed him to become the powerful magnate that he is. These ideals include: First to market is everything Ask "What Else?" when working with clients to enhance relationships and elicit more business Don't expand just for the sake of expanding; do it in areas and industries where your passion lies How to train employees while they're in the minor leagues to prepare them for the majors Learn to clearly identify ways to help others rather than sell to them, to align employees and partners with their strengths, and to discover a path where you're most likely to succeed.
Including Spike Lee's advice on independent filmmaking, excerpts from the production journal Lee kept throughout the making of She's Gotta Have It, and much more, Spike Lee's Gotta Have It is a unique document in film literature. 30 black-and-white photographs.
The transformative new book from “one of the most important American poets at work today” (Dunya Mikhail) I am content because before me looms the hope of love. I do not have it; I do not yet have it. It is a bird strong enough to lead me by the rope it bites; unless I pull, it is strong enough for me. I do worry the end of my days might come and I will not yet have it. But even then I will be brave upon my deathbed, and why shouldn’t I be? I held things here, and I felt them. —From “Psalm 40” The poems in Katie Ford’s fourth collection implore their audience—the divine and the human—for attention, for revelation, and, perhaps above all, for companionship. The extraordinary sequence at the heart of this book taps into the radical power of the sonnet form, bending it into a kind of metaphysical and psychological outcry. Beginning in the cramped space of selfhood—in the bedroom, cluttered with doubts, and in the throes of marital loss—these poems edge toward the clarity of “what I can know and admit to knowing.” In song and in silence, Ford inhabits the rooms of anguish and redemption with scouring exactness. This is poetry that “can break open, // it can break your life, it will break you // until you remain.” If You Have to Go is Ford’s most luminous and moving collection.
To Have Or to Be? is one of the seminal books of the second half of the 20th century. Nothing less than a manifesto for a new social and psychological revolution to save our threatened planet, this book is a summary of the penetrating thought of Eric Fromm. His thesis is that two modes of existence struggle for the spirit of humankind: the having mode, which concentrates on material possessions, power, and aggression, and is the basis of the universal evils of greed, envy, and violence; and the being mode, which is based on love, the pleasure of sharing, and in productive activity. To Have Or to Be? is a brilliant program for socioeconomic change.
To Have and Have Not is the dramatic, brutal story of Harry Morgan, an honest boat owner who is forced into running contraband between Cuba and Key West as a means of keeping his crumbling family financially afloat. His adventures lead him into the world of the wealthy and dissipated yachtsmen who swarm the region, and involve him in a strange and unlikely love affair. In this harshly realistic, yet oddly tender and wise novel, Hemingway perceptively delineates the personal struggles of both the “haves” and the “have nots” and creates one of the most subtle and moving portraits of a love affair in his oeuvre. In turn funny and tragic, lively and poetic, remarkable in its emotional impact, To Have and Have Not takes literary high adventure to a new level. As the Times Literary Supplement observed, “Hemingway's gift for dialogue, for effective understatement, and for communicating such emotions the tough allow themselves, has never been more conspicuous.”
A clinical psychologist’s exploration of the modern dilemmas women face in the wake of new motherhood When Molly Millwood became a mother, she was fully prepared for what she would gain: an adorable baby boy; hard-won mothering skills; and a messy, chaotic, beautiful life. But what she did not expect was what she would lose: aspects of her identity, a baseline level of happiness, a general sense of wellbeing. And though she had the benefit of a supportive husband during this transition, she also at times resented the fact that the disruption to his life seemed to pale in comparison to hers. As a clinical psychologist, Molly knew her experience was a normal response to a life-changing event. But without the advantage of such a perspective, many of the patients she treated in her private practice grappled with self-doubt, guilt, and fear, and suffered the dual pain of not only the struggle to adjust but also the overwhelming shame for struggling at all. In To Have and to Hold, Molly explores the complex terrain of new motherhood, illuminating the ways it affects women psychologically, emotionally, physically, and professionally—as well as how it impacts their partnership. Along with the arrival of a bundle of joy come thorny issues such as self-worth, control, autonomy, and dependency. And for most new mothers, these issues are experienced within the context of an intimate relationship, adding another layer of tension, conflict, and confusion to an already challenging time. As Molly examines the inextricable link between women’s well-being as new mothers and the well-being of their relationships, she offers guidance to help readers reclaim their identities, overcome their guilt and shame, and repair their relationships. A blend of personal narrative, scientific research, and stories from Molly’s clinical practice, To Have and to Hold provides a much-needed lifeline to new mothers everywhere.
Internet trolls live to upset as many people as possible, using all the technical and psychological tools at their disposal. They gleefully whip the media into a frenzy over a fake teen drug crisis; they post offensive messages on Facebook memorial pages, traumatizing grief-stricken friends and family; they use unabashedly racist language and images. They take pleasure in ruining a complete stranger's day and find amusement in their victim's anguish. In short, trolling is the obstacle to a kinder, gentler Internet. To quote a famous Internet meme, trolling is why we can't have nice things online. Or at least that's what we have been led to believe. In this provocative book, Whitney Phillips argues that trolling, widely condemned as obscene and deviant, actually fits comfortably within the contemporary media landscape. Trolling may be obscene, but, Phillips argues, it isn't all that deviant. Trolls' actions are born of and fueled by culturally sanctioned impulses -- which are just as damaging as the trolls' most disruptive behaviors. Phillips describes, for example, the relationship between trolling and sensationalist corporate media -- pointing out that for trolls, exploitation is a leisure activity; for media, it's a business strategy. She shows how trolls, "the grimacing poster children for a socially networked world," align with social media. And she documents how trolls, in addition to parroting media tropes, also offer a grotesque pantomime of dominant cultural tropes, including gendered notions of dominance and success and an ideology of entitlement. We don't just have a trolling problem, Phillips argues; we have a culture problem. This Is Why We Can't Have Nice Things isn't only about trolls; it's about a culture in which trolls thrive.
The first in the Half-Moon Hollow series is “wry, delicious fun” (Susan Andersen, New York Times bestselling author) as it follows a librarian whose life is turned upside down by a tempestuous and sexy vampire. Maybe it was the Shenanigans gift certificate that put her over the edge. When children’s librarian and self-professed nice girl Jane Jameson is fired by her beastly boss and handed twenty-five dollars in potato skins instead of a severance check, she goes on a bender that’s sure to become Half Moon Hollow legend. On her way home, she’s mistaken for a deer, shot, and left for dead. And thanks to the mysterious stranger she met while chugging neon-colored cocktails, she wakes up with a decidedly unladylike thirst for blood. Jane is now the latest recipient of a gift basket from the Newly Undead Welcoming Committee, and her life-after-lifestyle is taking some getting used to. Her recently deceased favorite aunt is now her ghostly roommate. She has to fake breathing and endure daytime hours to avoid coming out of the coffin to her family. She’s forced to forgo her favorite down-home Southern cooking for bags of O negative. Her relationship with her sexy, mercurial vampire sire keeps running hot and cold. And if all that wasn’t enough, it looks like someone in Half Moon Hollow is trying to frame her for a series of vampire murders. What’s a nice undead girl to do?