Recommendations based on "Brown Baby A Memoir of Race, Family and Home"

A new collection from David Sedaris is cause for jubilation. His recent move to Paris has inspired hilarious pieces, including Me Talk Pretty One Day, about his attempts to learn French. His family is another inspiration. You Cant Kill the Rooster is a portrait of his brother who talks incessant hip-hop slang to his bewildered father. And no one hones a finer fury in response to such modern annoyances as restaurant meals presented in ludicrous towers and cashiers with 6-inch fingernails. Compared by The New Yorker to Twain and Hawthorne, Sedaris has become one of our best-loved authors. Sedaris is an amazing reader whose appearances draw hundreds, and his performancesincluding a jaw-dropping impression of Billie Holiday singing I wish I were an Oscar Meyer weinerare unforgettable. Sedariss essays on living in Paris are some of the funniest hes ever written. At last, someone even meaner than the French! The sort of blithely sophisticated, loopy humour that might have resulted if Dorothy Parker and James Thurber had had a love child. Entertainment Weekly on Barrel Fever Sidesplitting Not one of the essays in this new collection failed to crack me up; frequently I was helpless. The New York Times Book Review on Naked

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.

In this rare peak into the personal life of the author of numerous bestselling novels, gain an understanding of David Foster Wallace and how he became the man that he was.Only once did David Foster Wallace give a public talk on his views on life, during a commencement address given in 2005 at Kenyon College. The speech is reprinted for the first time in book form in This is Water. How does one keep from going through their comfortable, prosperous adult life unconsciously? How do we get ourselves out of the foreground of our thoughts and achieve compassion? The speech captures Wallace's electric intellect as well as his grace in attention to others. After his death, it became a treasured piece of writing reprinted in The Wall Street Journal and the London Times, commented on endlessly in blogs, and emailed from friend to friend.Writing with his one-of-a-kind blend of causal humor, exacting intellect, and practical philosophy, David Foster Wallace probes the challenges of daily living and offers advice that renews us with every reading.

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.

Two books in one in a flip dos-à-dos format: The story of Aleksandar Hemon’s parents’ immigration from Sarajevo to Canada and a book of short memories of the author’s family, friends, and childhood in SarajevoIn My Parents, Aleksandar Hemon tells the story of his parents’ immigration to Canada―of the lives that were upended by the war in Bosnia and siege of Sarajevo and the new lives his parents were forced to build. As ever with his work, he portrays both the perfect, intimate details (his mother’s lonely upbringing, his father’s fanatical beekeeping) and a sweeping, heartbreaking history of his native country. It is a story full of many Hemons, of course―his parents, sister, uncles, cousins―and also of German occupying forces, Yugoslav partisans, royalist Serb collaborators, singing Ukrainians, and a few befuddled Canadians.My Parents is Hemon at his very best, grounded in stories lovingly polished by retelling, but making them exhilarating and fresh in writing, summoning unexpected laughs in the midst of the heartbreaking narratives. This Does Not Belong to You, meanwhile, is the exhilarating, freewheeling, unabashedly personal companion to My Parents―a perfect dose of Hemon at his most dazzling and untempered in a series of beautifully distilled memories and observations and explosive, hilarious, poignant miniatures. Presented dos-à-dos with My Parents, it complements and completes a major work from a major writer.In the words of Colum McCann, “Aleksandar Hemon is, quite frankly, the greatest writer of our generation.” Hemon has never been better than here in these pages. And the moment has never been more ready for his voice, nor has the world ever been more in need of it.

Named A Best Book of 2011 by the New York Times, Time Magazine, the Boston Globe and Entertainment WeeklyA sharp-eyed, uniquely humane tour of America's cultural landscape―from high to low to lower than low―by the award-winning young star of the literary nonfiction world.In Pulphead, John Jeremiah Sullivan takes us on an exhilarating tour of our popular, unpopular, and at times completely forgotten culture. Simultaneously channeling the gonzo energy of Hunter S. Thompson and the wit and insight of Joan Didion, Sullivan shows us―with a laidback, erudite Southern charm that's all his own―how we really (no, really) live now.In his native Kentucky, Sullivan introduces us to Constantine Rafinesque, a nineteenth-century polymath genius who concocted a dense, fantastical prehistory of the New World. Back in modern times, Sullivan takes us to the Ozarks for a Christian rock festival; to Florida to meet the alumni and straggling refugees of MTV's Real World, who've generated their own self-perpetuating economy of minor celebrity; and all across the South on the trail of the blues. He takes us to Indiana to investigate the formative years of Michael Jackson and Axl Rose and then to the Gulf Coast in the wake of Katrina―and back again as its residents confront the BP oil spill.Gradually, a unifying narrative emerges, a story about this country that we've never heard told this way. It's like a fun-house hall-of-mirrors tour: Sullivan shows us who we are in ways we've never imagined to be true. Of course we don't know whether to laugh or cry when faced with this reflection―it's our inevitable sob-guffaws that attest to the power of Sullivan's work.

NEW YORK TIMES BESTSELLERIn his unique and engaging voice, the acclaimed actor of stage and screen shares the emotional story of his complicated relationship with his father and the deeply buried family secrets that shaped his life and career.A beloved star of stage, television, and film—“one of the most fun people in show business” (Time magazine)—Alan Cumming is a successful artist whose diversity and fearlessness is unparalleled. His success masks a painful childhood growing up under the heavy rule of an emotionally and physically abusive father—a relationship that tormented him long into adulthood.When television producers in the UK approached him to appear on a popular celebrity genealogy show in 2010, Alan enthusiastically agreed. He hoped the show would solve a family mystery involving his maternal grandfather, a celebrated WWII hero who disappeared in the Far East. But as the truth of his family ancestors revealed itself, Alan learned far more than he bargained for about himself, his past, and his own father.With ribald humor, wit, and incredible insight, Alan seamlessly moves back and forth in time, integrating stories from his childhood in Scotland and his experiences today as a film, television, and theater star. At times suspenseful, deeply moving, and wickedly funny, Not My Father’s Son will make readers laugh even as it breaks their hearts.

In the fourth volume in the Why I Write series, the iconic Samuel Delany remembers fifty years of writing and shaping the world of speculative fiction "Delany's prismatic output is among the most significant, immense and innovative in American letters."--Jordy Rosenberg, New York Times "He dispenses wisdom about craft--including the demanding revision process his dyslexia requires--but most moving are the moments when he sheds light on connections he has made with other readers and writers. . . . Delany's fans are in for a treat."--Publishers Weekly, starred review Language is the way humans deal with past, present, and future possibilities, as well as the subset called the probable. This is where Samuel Delany finds his justification for the writing life. Since the 1960s, occurrences such as Sputnik, school desegregation, and the advent of AIDS have given Delany, as a gay man, as a black man, access to certain truths and facts he could write about, and the language--sometimes fiction, sometimes nonfiction--in which to present them. "We write," Delany believes, "at the intersection of your experience and mine in a way, I hope, that allows recognition."

Winner of the 1998 Yale Series of Younger Poets competition, Craig Arnold's Shells was acclaimed as "a gifted collection of daring writing" by the contest judge, the distinguished poet W. S. Merwin. The book is an intriguing set of variations on the theme of identity. Arnold plays on the idea of the shell as both the dazzling surface of the self and a hard case that protects the self against the assaults of the world. His poems narrate amatory and culinary misadventures. "Friendships based on food," Arnold writes, "are rarely stable"--this book is full of wildly unstable and bewitching friendships and other significant relations.

Ethan Mordden talks about narrative style, and how he came to write How Long Has This Been Going On? Allan Gurganus reminisces fondly about his childhood love of the Bible and the "music of sermons." David Leavitt muses on the identity of the gay reader - and the extent to which that readership defined a tradition. Andrew Holleran wonders how he might have made The Beauty of Men "more forlorn, romantic, lost" by writing in the first person.