Empfehlungen basierend auf "Loves Executioner"

Irvin D. Yalom has made a career of investigating the lives of others. In Becoming Myself, his long-awaited memoir, he turns his therapeutic eye on himself, delving into the relationships that shaped him and the groundbreaking work that made him famous.The first-generation child of immigrant Russian Jews, Yalom grew up in a lower-class neighbourhood in Washington DC. Determined to escape its confines, he set his sights on becoming a doctor. An incredible ascent followed: we witness his start at Stanford Medical School amid the cultural upheavals of the 1960s, his turn to writing fiction as a means of furthering his exploration of the human psyche and his rise to international prominence.Yalom recounts his revolutionary work in group psychotherapy and how he became the foremost practitioner of existential psychotherapy, a method that draws on the wisdom of great thinkers over the ages. He reveals the inspiration for his many seminal books, including Love's Executioner and When Nietzche Wept, which meld psychology and philosophy to arrive at arresting new insights into the human condition. Interweaving the stories of his most memorable patients with personal tales of love and regret, Becoming Myself brings readers close to Yalom's therapeutic technique, his writing process and his family life.In this, his final work, Yalom finds wisdom in a line from Charles Dickens: 'For, as I draw closer and closer to the end, I travel in the circle nearer and nearer to the beginning'. Following Yalom back to his beginnings is an invitation to travel nearer to our own, and the opportunity will stand as one of his most profound gifts.

David Sedaris returns with his most deeply personal and darkly hilarious book.If you've ever laughed your way through David Sedaris's cheerfully misanthropic stories, you might think you know what you're getting with Calypso. You'd be wrong.When he buys a beach house on the Carolina coast, Sedaris envisions long, relaxing vacations spent playing board games and lounging in the sun with those he loves most. And life at the Sea Section, as he names the vacation home, is exactly as idyllic as he imagined, except for one tiny, vexing realization: it's impossible to take a vacation from yourself.With Calypso, Sedaris sets his formidable powers of observation toward middle age and mortality. Make no mistake: these stories are very, very funny--it's a book that can make you laugh 'til you snort, the way only family can. Sedaris's powers of observation have never been sharper, and his ability to shock readers into laughter unparalleled. But much of the comedy here is born out of that vertiginous moment when your own body betrays you and you realize that the story of your life is made up of more past than future.This is beach reading for people who detest beaches, required reading for those who loathe small talk and love a good tumor joke. Calypso is simultaneously Sedaris's darkest and warmest book yet--and it just might be his very best.

INTERNATIONAL LATINO BOOK AWARD WINNER - The Raul Yzaguirre Best Political/Current Affairs BookThis deeply personal perspective from a human rights lawyer—whose work on the front lines of the fight against family separations in South Texas intertwines with his own story of immigrating to the United States at thirteen—reframes the United States' history as a nation of immigrants but also a nation against immigrants. In the summer of 2018, Efrén C. Olivares found himself representing hundreds of immigrant families when Zero Tolerance separated thousands of children from their parents at the U.S.-Mexico border. Twenty-five years earlier, he had been separated from his own father for several years when he migrated to the U.S. to work. Their family was eventually reunited in Texas, where Efrén and his brother went to high school and learned a new language and culture.By sharing these gripping family separation stories alongside his own, Olivares gives voice to immigrants who have been punished and silenced for seeking safety and opportunity. Through him we meet Mario and his daughter Oralia, Viviana and her son Sandro, Patricia and her son Alessandro, and many others. We see how the principles that ostensibly bind the U.S. together fall apart at its borders.My Boy Will Die of Sorrow reflects on the immigrant experience then and now, on what separations do to families, and how the act of separation itself adds another layer to the immigrant identity. Our concern for fellow human beings who live at the margins of our society—at the border, literally and figuratively—is shaped by how we view ourselves in relation both to our fellow citizens and to immigrants. He discusses not only law and immigration policy in accessible terms, but also makes the case for how this hostility is nothing new: children were put in cages when coming through Ellis Island, and Japanese Americans were forcibly separated from their families and interned during WWII. By examining his personal story and the stories of the families he represents side by side, Olivares meaningfully engages readers with their assumptions about what nationhood means in America and challenges us to question our own empathy and compassion.

THE NATIONAL BESTSELLER“This riveting, courageous memoir ought to be mandatory reading for every American.”  —Michelle Alexander, New York Times bestselling author of The New Jim Crow“l cried reading this book, realizing more fully what my parents endured.” —Amy Tan, New York Times bestselling author of The Joy Luck Club and Where the Past Begins“This book couldn’t be more timely and more necessary.” —Dave Eggers, New York Times bestselling author of What Is the What and The Monk of MokhaPulitzer-Prize winning journalist Jose Antonio Vargas, called “the most famous undocumented immigrant in America,” tackles one of the defining issues of our time in this explosive and deeply personal call to arms.“This is not a book about the politics of immigration. This book––at its core––is not about immigration at all. This book is about homelessness, not in a traditional sense, but in the unsettled, unmoored psychological state that undocumented immigrants like myself find ourselves in. This book is about lying and being forced to lie to get by; about passing as an American and as a contributing citizen; about families, keeping them together, and having to make new ones when you can’t. This book is about constantly hiding from the government and, in the process, hiding from ourselves. This book is about what it means to not have a home.After 25 years of living illegally in a country that does not consider me one of its own, this book is the closest thing I have to freedom.”—Jose Antonio Vargas, from Dear America

From “one of the most important, politically vital and morally bracing writers of his generation” (The Guardian), an unflinching account of Édouard Louis’s brother’s life and death. Édouard’s brother spent much of his life dreaming. He lived in a poor, working-class world, where he imagined that he would become one of the finest butchers in France, that he would travel, that he would make his fortune, that he would restore cathedrals, and that his father, who had disappeared, would return and love him. But there was no way to escape, no one who could show him how, and everything about him—his drinking, his violence, his behavior with women and with others—condemned him. At thirty-eight, after years of failure and depression, he was found dead on the floor of his small studio apartment. This book is the story of his collapse. Édouard Louis traces the life of a man who was in many ways deplorable: violent, misogynistic, homophobic, brutal. But where might understanding begin, and how far can it extend? In Collapse, Louis pursues every angle for answers—newly consulting writers and psychoanalysts and questioning his siblings, his mother, his brother’s partners, and himself. From an outpouring of memory and pain comes a radical gesture of dignity and forgiveness.

"A beautifully written, hallucinatorily evocative memoir of growing up gay in baby-boom America."  — NewsweekIn his powerful autobiography, Firebird, Mark Doty tells the story of a ten-year-old in a top hat, cane, and red chiffon scarf, interrupted while belting out Judy Garland's "Get Happy" by his alarmed mother at the bedroom door, exclaiming, "Son, you're a boy!"Firebird presents us with a heroic little boy who has quite enough worries without discovering that his dawning sexuality is the Wrong One. A self-confessed "chubby smart bookish sissy with glasses and a Southern accent," Doty grew up on the move, the family following his father's engineering work across America-from Tennessee to Arizona, Florida to California. A lyrical, heartbreaking comedy of one family's dissolution through the corrosive powers of alcohol, sorrow, and thwarted desire, Firebird is also a wry evocation of childhood's pleasures and terrors, a comic tour of American suburban life, and a testament to the transformative power of art.

“Friend, asshole, angel, mutant,” singer-songwriter Vic Chesnutt “came along and made us gross and broken people seem . . . I dunno, cooler, I guess.” A quadriplegic who could play only simple chords on his guitar, Chesnutt recorded seventeen critically acclaimed albums before his death in 2009, including About to Choke, North Star Deserter, and At the Cut. In 2006, NPR placed him in the top five of the ten best living songwriters, along with Bob Dylan, Tom Waits, Paul McCartney, and Bruce Springsteen. Chesnutt’s songs have also been covered by many prominent artists, including Madonna, the Smashing Pumpkins, R.E.M., Sparklehorse, Fugazi, and Neutral Milk Hotel.Kristin Hersh toured with Chesnutt for nearly a decade and they became close friends, bonding over a love of songwriting and mutual struggles with mental health. In Don’t Suck, Don’t Die, she describes many seemingly small moments they shared, their free-ranging conversations, and his tragic death. More memoir than biography, Hersh’s book plumbs the sources of Chesnutt’s pain and creativity more deeply than any conventional account of his life and recordings ever could. Chesnutt was difficult to understand and frequently difficult to be with, but, as Hersh reveals him, he was also wickedly funny and painfully perceptive. This intimate memoir is essential reading for anyone interested in the music or the artist.

In Suicides and Jazzers, Hayden Carruth reveals as never before the hard experiences that have shaped his life and art. In the lead essay, entitled "Suicide," he speaks of the psychiatric illness he has lived with for most of his life and his attempted suicide in 1988. In "Fragments of Autobiography," he shares memories of a Connecticut childhood, early ruminations about death, and his coming-of-age in small-town America. A major essay on the poetry of Paul Goodman is followed by shorter essays on Wallace Stevens, Emily Dickinson, Donald Hall, and Carolyn Kizer. In sections entitled "Elegies," "Reviews," and "Musical" Carruth celebrates fine writers and musicians who he feels have been intentionally neglected by the establishment, including authors Grace Paley and David Ignatow, tenor saxophonist Ben Webster, and, in "The Spun-Off Independent Dead-End Ten-Star Blast," white jazz musicians.

WINNER OF THE PULITZER PRIZE • ONE OF THE NEW YORK TIMES AND THE ATLANTIC’S TEN BEST BOOKS OF THE YEAR • ONE OF BARACK OBAMA’S FAVORITE BOOKS OF THE YEAR • Through the “revelatory and gut-wrenching” (Associated Press) stories of five Atlanta families, this landmark work of journalism exposes a new and troubling trend—the dramatic rise of the working homeless in cities across America. “An exceptional feat of reporting, full of an immediacy that calls to mind Adrian Nicole LeBlanc’s Random Family and Matthew Desmond’s Evicted.”—The New York Times Book Review (Editors’ Choice) WINNER OF THE LOS ANGELES TIMES BOOK PRIZE • FINALIST FOR THE ANDREW CARNEGIE MEDAL AND THE BERNSTEIN AWARD • A BEST BOOK OF THE YEAR: NPR, The Washington Post, Atlanta Journal-Constitution, Elle, New America, BookPage, Shelf Awareness The working homeless. In a country where hard work and determination are supposed to lead to success, there is something scandalous about this phrase. But skyrocketing rents, low wages, and a lack of tenant rights have produced a startling phenomenon: People with full-time jobs cannot keep a roof over their head, especially in America’s booming cities, where rapid growth is leading to catastrophic displacement. These families are being forced into homelessness not by a failing economy but a thriving one. In this gripping and deeply reported book, Brian Goldstone plunges readers into the lives of five Atlanta families struggling to remain housed in a gentrifying, increasingly unequal city. Maurice and Natalia make a fresh start in the country’s “Black Mecca” after being priced out of DC. Kara dreams of starting her own cleaning business while mopping floors at a public hospital. Britt scores a coveted housing voucher. Michelle is in school to become a social worker. Celeste toils at her warehouse job while undergoing treatment for ovarian cancer. Each of them aspires to provide a decent life for their children—and each of them, one by one, joins the ranks of the nation’s working homeless. Through intimate, novelistic portraits, Goldstone reveals the human cost of this crisis, following parents and their kids as they go to sleep in cars, or in squalid extended-stay hotel rooms, and head out to their jobs and schools the next morning. These are the nation’s hidden homeless—omitted from official statistics, and proof that overflowing shelters and street encampments are only the most visible manifestation of a far more pervasive problem. By turns heartbreaking and urgent, There Is No Place for Us illuminates the true magnitude, causes, and consequences of the new American homelessness—and shows that it won’t be solved until housing is treated as a fundamental human right.

Sam Shepard is arguably America’s finest working dramatist, as well as an accomplished screenwriter, actor, and director. Winner of a Pulitzer Prize, he has written more than forty-five plays, including True West, Fool for Love, and Buried Child. Shepard has also appeared in more than fifty films, beginning with Terrence Malick’s Days of Heaven, and was nominated for an Academy Award for his performance in The Right Stuff. Despite the publicity his work and life have attracted, however, Shepard remains a strongly private man who has said many times that he will never write a memoir. But he has written intensively about his inner life and creative work to his former father-in-law and housemate, Johnny Dark, who has been Shepard’s closest friend, surrogate brother (they’re nearly the same age), and even artistic muse for forty-five years and counting.Two Prospectors gathers nearly forty years of correspondence and transcribed conversations between Shepard and Dark. In these gripping, sometimes gut-wrenching letters, the men open themselves to each other with amazing honesty. Shepard’s letters give us the deepest look we may ever get into his personal philosophy and creative process, while in Dark’s letters we discover insights into Shepard’s character that only an intimate friend could provide. The writers also reflect on the books and authors that stimulate their thinking, their relationships with women (including Shepard’s anguished decision to leave his wife and son—Dark’s stepdaughter and grandson—for actress Jessica Lange), personal struggles, and accumulating years. Illustrated with Dark’s candid, revealing photographs of Shepard and their mutual family across many years, as well as facsimiles of numerous letters, Two Prospectors is a compelling portrait of a complex friendship that has anchored both lives for decades, a friendship also poignantly captured in Treva Wurmfeld’s film, Shepard & Dark.