A Sunday Times Book of the Year ‘A memoir as soulful, wryly witty, and lyrical as it is candid and courageous’ – Booklist, starred review ‘Impressive, candid and vivid’ The Times ‘Beautifully written’ Sunday Times Sally Field is one of the most celebrated, beloved and enduring actors of our time, and now she tells her story for the first time in this intimate and haunting literary memoir. In her own words, she writes about a challenging and lonely childhood, the craft that helped her find her voice, and a powerful emotional legacy that shaped her journey as a daughter and a mother. Sally Field has an infectious charm that has captivated audiences for more than five decades, beginning with her first television role at the age of 17. From Gidget’s sweet-faced ‘girl next door’ to the dazzling complexity of Sybil to the Academy Award-winning ferocity and depth of her role in Norma Rae and Mary Todd Lincoln, Field has stunned audiences time and time again with her artistic range and emotional acuity. Yet there is one character who always remained hidden: the shy and anxious little girl within. With raw honesty and the fresh, pitch-perfect prose of a natural-born writer, and with all the humility and authenticity her fans have come to expect, Field brings readers behind the scenes for not only the highs and lows of her star-studded early career in Hollywood, but deep into the truth of her lifelong relationships including, most importantly, her complicated love for her own mother. Powerful and unforgettable, In Pieces is an inspiring and important account of life as a woman in the second half of the twentieth century.

#1 NEW YORK TIMES BESTSELLER "A haunting, beautiful, and necessary book."—Nicola Yoon, #1 New York Times bestselling author of Everything, Everything Charlotte Davis is in pieces. At seventeen she’s already lost more than most people do in a lifetime. But she’s learned how to forget. The broken glass washes away the sorrow until there is nothing but calm. You don’t have to think about your father and the river. Your best friend, who is gone forever. Or your mother, who has nothing left to give you. Every new scar hardens Charlie’s heart just a little more, yet it still hurts so much. It hurts enough to not care anymore, which is sometimes what has to happen before you can find your way back from the edge. A deeply moving portrait of a girl in a world that owes her nothing, and has taken so much, and the journey she undergoes to put herself back together. Kathleen Glasgow's debut is heartbreakingly real and unflinchingly honest. It’s a story you won’t be able to look away from. And don’t miss Kathleen Glasgow's novels You’d Be Home Now and How to Make Friends with the Dark, both raw and powerful stories of life.

From New York Times bestselling author Suzanne Young comes a “tremendously moving” (Booklist) novel about a girl struggling to deal with anger issues while taking care of her younger brother with special needs. “Anger-management issues.” That’s how they classified Savannah Sutton after she drove a pencil into her ex-boyfriend’s hand because he mocked her little brother, Evan, for being disabled. That’s why they sent her to Brooks Academy—an alternative high school that’s used as a temporary detention center. The days at Brooks are miserable, but at home, life is far more bleak. Savvy’s struggling to take care of her brother since her mom left years ago, and her alcoholic dad can’t be bothered. Life with Evan is a constant challenge, but he’s also the most important person in the world to Savvy. Then there’s Cameron, a new student at Brooks with issues of his own; a guy from a perfect family that Savvy thought only existed on TV. Cameron seems determined to break through every one of the walls Savvy’s built around herself, except if she lets herself trust him, it could make everything she’s worked so hard for fall apart in an instant. And with her aunt seeking custody of her brother and her ex-boyfriend seeking revenge, Savvy’s fighting to hold all the pieces together. But she’s not sure how much tighter she can be pulled before she breaks completely.

Gabi’s a girl in pieces. She wants a lot of things. Will she find the thing she needs most?

"IN THE LONG RUN, WE'RE ALL DEAD. But for some of the most influential figures in history, death marked the start of a new adventure. The famous deceased have been stolen, burned, sold, pickled, frozen, stuffed, impersonated, and even filed away in a lawyer's office. Their fingers, teeth, toes, arms, legs, skulls, hearts, lungs, and nether regions have embarked on voyages that crisscross the globe and stretch the imagination. Counterfeiters tried to steal Lincoln's corpse. Einstein's brain went on a cross-country road trip. And after Lord Horatio Nelson perished at Trafalgar, his sailors submerged him in brandy--which they drank. From Mozart to Hitler, Rest in Pieces connects the lives of the famous dead to the hilarious and horrifying adventures of their corpses, and traces the evolution of cultural attitudes toward death"--Back cover.

A deeply emotional graphic memoir of a young woman’s struggles with self-esteem and body image issues. All Marie-Noëlle wants is to be thin and beautiful. She wishes that her thighs were slimmer, that her stomach lay flatter. Maybe then her parents wouldn’t make fun of her eating habits at family dinners, the girls at school wouldn’t call her ugly, and the boy she likes would ask her out. This all-too-relatable memoir follows Marie-Noëlle from childhood to her twenties, as she navigates what it means to be born into a body that doesn’t fall within society’s beauty standards. When, as a young teen, Marie-Noëlle begins a fitness regime in an effort to change her body, her obsession with her weight and size only grows and she begins having suicidal thoughts. Fortunately for Marie-Noëlle, a friend points her in the direction of therapy, and slowly, she begins to realize that she doesn’t need the approval of others to feel whole. Marie-Noëlle Hébert’s debut graphic memoir is visually stunning and drawn entirely in graphite pencil, depicting a deeply personal and emotional journey that encourages us to all be ourselves without apology. Key Text Features graphic novel comic style

Medieval manuscripts resisted obsolescence. Made by highly specialised craftspeople (scribes, illuminators, book binders) with labour-intensive processes using exclusive and sometimes exotic materials (parchment made from dozens or hundreds of skins, inks and paints made from prized minerals, animals and plants), books were expensive and built to last. They usually outlived their owners. Rather than discard them when they were superseded, book owners found ways to update, amend and upcycle books or book parts. These activities accelerated in the fifteenth century. Most manuscripts made before 1390 were bespoke and made for a particular client, but those made after 1390 (especially books of hours) were increasingly made for an open market, in which the producer was not in direct contact with the buyer. Increased efficiency led to more generic products, which owners were motivated to personalise. It also led to more blank parchment in the book, for example, the backs of inserted miniatures and the blanks ends of textual components. Book buyers of the late fourteenth and throughout the fifteenth century still held onto the old connotations of manuscripts—that they were custom-made luxury items—even when the production had become impersonal. Owners consequently purchased books made for an open market and then personalised them, filling in the blank spaces, and even adding more components later. This would give them an affordable product, but one that still smacked of luxury and met their individual needs. They kept older books in circulation by amending them, attached items to generic books to make them more relevant and valuable, and added new prayers with escalating indulgences as the culture of salvation shifted. Rudy considers ways in which book owners adjusted the contents of their books from the simplest (add a marginal note, sew in a curtain) to the most complex (take the book apart, embellish the components with painted decoration, add more quires of parchment). By making sometimes extreme adjustments, book owners kept their books fashionable and emotionally relevant. This study explores the intersection of codicology and human desire. Rudy shows how increased modularisation of book making led to more standardisation but also to more opportunities for personalisation. She asks: What properties did parchment manuscripts have that printed books lacked? What are the interrelationships among technology, efficiency, skill loss and standardisation?