From the duo who delighted readers with The Lonely Phone Booth comes this wonderful new book featuring a diverse family of memorable characters. Pablo Pressman has homework to do, and Pablo will do almost anything to avoid doing his homework. But when his computer breaks down, he is desperate. His mother takes him up to the attic to discover her old typewriter. A "what-writer"? asks Pablo mystified. When his mother shows him how to strike the keys just so, and the words start to appear on paper, Pablo is delighted. And imagine his triumph when he presents his homework at school and amazes his teacher and all his friends with the story of the mechanical marvel that saved the day.

The lonely life of a writer need not be. There are ways to break that isolation and find encouragement and support within groups of like-minded people. Sections in Writing Alone, Writing Together include Writing Practice Groups, Creating Writing Prompts, Group Leadership, and even What to Do with the Bores, Whiners, Control Junkies, and Thugs. Whether the group is oriented toward writing the great American novel or a family memory book, this useful book offers an array of effective techniques to help writers achieve their goals.

Norman Qwerty is a man of many ideas, and none of them are the least bit ordinary. He's quite certain that no one else thinks the way he does, and this makes him keep to himself. But when his ideas get too big to hold in, he builds the most extraordinary thing Soon the beloved Mr. Qwerty is never alone (unless he wants to be), and the world will never be the same.

Remember the days when phone booths stood on every street corner? If you had to make a call, you'd step inside the little booth, lift the phone off the hook, put a coin in the slot, listen for the click, push the buttons, and hear it ring? And for only 25 cents, in the quiet of the booth, you could call your grandmother, or let the office know you were running late, or get directions for a birthday party. . . This is the story of one of the last remaining phone booths in New York City, the Phone Booth on the corner of West End Avenue and 100th. Everyone used it — from ballerinas and girl scouts, zookeepers and birthday clowns, to cellists and even secret agents! The Phone Booth was so beloved that people would sometimes wait in line to use it. Kept clean and polished, the Phone Booth was proud and happy . . . until, the day a businessman strode by and shouted into a shiny silver object, "I'll be there in ten minutes!" Soon everyone was talking into these shiny silver things, and the Phone Booth stood alone and empty, unused and dejected. How the Phone Booth saved the day and united the neighborhood to rally around its revival is the heart of this soulful story. In a world in which objects we love and recognize as part of the integral fabric of our lives are disappearing at a rapid rate, here is a story about the value of the analog, the power of the people's voice, and the care and respect due to those things that have served us well over time. With his delightful, witty, and boldly colored illustrations that evoke Miroslav Sasek's mid-century modern aesthetic, Max Dalton simply and elegantly captures the energy and diversity of New York City and its inhabitants. A beauty to behold and a pleasure to read, The Lonely Phone Booth is sure to be a favorite among children and parents alike, and the real Phone Booth, which is still standing at West End Avenue and 100th Street, is worth a field trip!

At 2 a.m. on 10 March 1983, Carmen Bugan’s father left the family home, alone. That afternoon, Carmen returned from school to find secret police in her living room. Her father’s protest against the regime had changed her life for ever. This is her story.

The New York Times–bestselling author finds the pulse of the aging American male in two ingeniously funny novels. “I just laughed myself sick” (Neil Simon). Two classic works of comic self-help fiction by “one of the funniest writers in America” available together for the first time in a single ebook edition (John Gregory Dunne). With its “sparkling . . . winsome and true” look at the single male in America—from his sad new apartment furnishings to his career struggles to the mystifying dating world—Bruce Jay Friedman’s The Lonely Guy’s Book of Life was as cringingly relatable to both men and women when it was first published in 1978 as is today (The New York Times Book Review). The inspiration for Steve Martin’s classic cult film comedy, The Lonely Guy, it was hailed as “the funniest book of this year, or most any other. You don’t close this book. You just start reading it again immediately. I loved every page–and laughed out loud on most of them” (Dan Jenkins, author of Semi-Tough and Dead Solid Perfect). Twenty years later, Friedman returned to the subject with The Slightly Older Guy, finding his quarry no longer alone, maybe a little less lonely, not so young anymore, faltering at fashion, pondering a new career, but just as resiliently witty. Featuring a new afterword, The Considerably Older Guy offers advice on such topics as divorce, grandchildren, exercise, diet, and insomnia. “If you believe in reading, then when a book comes along by Friedman, you have to read it. It’s as simple as that” (The Washington Post Book World).

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times